In ”Blossomborn”, Isadora Israel explores mythic figures in a state of temporary arrest, suspended between past and future — such as Sleeping Beauty behind her rose-thorns, or Bluebeard’s bride before the locked door — figures who defy warnings not to cross a threshold, and who ultimately enter into sleep, longing, or forbidden knowledge. Each is caught in a moment of promised transformation, climax, or closure — not yet fulfilled.
Stretched between two walls, a central sculpture of parchment and mesh echoes this unfulfilled promise. Yet unlike the characters of myth, the sculpture is frozen in time — like a virelai, a circular poem that turns endlessly (and which gives the sculpture its name) — suspended without resolution. In the small graphite drawing a figure is forever veiled.
In ”Blossomborn”, the works dwell in suspension — not as a promise, but as a condition.
Selected Solo
Exhibitions
2025; "Metaxy"; Konstfrämjandet i Bergslagen; Örebro, Sweden
2024; "Metaxy"; Galleri Mejan; Stockholm, Sweden
2022; "The Tree Outside the Window Taps Very Gently on the Pane…"; Selected Art by Ödlund; Malmö, Sweden
2022; "The Tree Outside the Window Taps Very Gently on the Pane…"; Bunkern Gallery /Paviljong LUX; Örebro, Sweden
2021; "Virgulta Virentia"; Not Quite; Fengersfors, Sweden
Selected Group Exhibitions
2024; MFA Graduation Show; Konstakademien; Stockholm, Sweden
2022; "Rundgång"; Royal Institute of Art; Stockholm, Sweden
2020; "2Long 4ever"; Riksarkivet; Gothenburg, Sweden
2019; "deCCa: 22:22"; Kiosken; Gothenburg, Sweden
Selected Grants
and Awards
2024; Swedish Arts Grants Committee
2024; Helge Ax:son Johnsons stiftelse
2024; Hötorgsstipendiet
2023; Wilhelm Smith Foundation
2023; Royal Academy of Fine Arts Grant
2021; Restart Grant, Malmö Cultural Board
2020; Adlerbertska stipendier
2019; Adlerbertska stipendier