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A distinct direction in Alix Wallin’s practice is the creation of in situ works — pieces conceived in close contextual and emotional dialogue with the specific location she is invited to engage with. Graphic panels are created directly on the walls of a space, rather than produced in the studio, transforming the entire environment into a single, unified work of art.

Among these projects are her collaborations with the architecture studio Gilles & Boissier, for which she created works for the interiors of the restaurant Kinugawa and The Chess Hotel; murals for the Moncler boutique in Seoul; projects for the Renaissance Bordeaux Hotel and Mandarin Oriental Paris; commissions for private residences; as well as collaborations with brands such as Cartier, Diptyque and Pinton.

Each of these works embodies her creative method: a symbolic expression of vibration, flow and movement. The delicacy of her drawing arises from precise, deliberate gestures and an intentionally restrained palette of techniques — the artist works exclusively with black markers of varying diameters, ink and graphite pencils.

“I am not striving to depict; I seek to capture the currents and energies that course through all living things, to reveal an invisible reality that spans from the infinitely large to the infinitely small. By creating a graphic network of interlacing lines, I construct the drawing like a textile: the dots fall into rhythm, giving the surface a sense of physicality and depth. My work is centred on the study of texture and aims at synaesthesia — the unity of visual and tactile perception,” she explains.