As part of the Ung Svensk Form/Young Swedish Design 2019 award?/exhibition invitation? I presented ”Google Weaving Stop-time (X)” as a small part of my larger project ”Google Weaving Stop-time” from 2018. Ung Svensk Form is an arena for young design in Sweden. Ung Svensk Form is a juried competition where the nominated entries take part in a travelling exhibition. My contribution consists of two tapestries in wool on linen warp, both my design. One of the tapestries is woven by my assistant Mortaza (no last name disclosed due to asylum status) during the project for 4th Istanbul Design Biennial (2018) and one is woven by myself copying his weave. The works are a continuation of my collaborative project “Google Weaving Stop-time” (2018) - an online weaving community, with 27 participating weavers, a space for sharing knowledge in rya weaving, and an exhibition of a collective work created for 4th Istanbul Design Biennial 2018 (curated by Jan Boelen) that brought hand weavers from all over the world together via a social media call I made. We were all making tapestries based on the Google search words “Textile Labour Turkey”. I made this additional work for several reasons: In “Google Weaving Stop-time” (for 4th Istanbul Design Biennial) my contribution was much smaller than the works I usually do, but lack of time prevented me to invest more time and effort and I decided to look for an assistant. The experience of working with an assistant was new to me (I also hired him, besides above mentioned lack of time, due to physical limitations of a late stage in pregnancy and couldn´t weave myself) – the experience left me with a feeling of dissatisfaction since I did not make the contribution with my own hands. In the collective weaving project “Google Weaving Stop-Time” the time investment was different than my usual. There was the time of the other weavers who decided how long things would take. My own time in the project was spent mostly in front of the computer to follow their processes and answer questions and comments over e-mails and on Facebook. This was unsatisfying and added to a wish to weave a larger contribution myself. As part of the experience of feeling unsatisfied I wanted to make a shift in my experience from the “online friendships” in the “Google Weaving Stop-time” project to another form of collaboration that was also a very different way of working. Mortaza was someone I met in person in Gothenburg and invited to my temporary studio and could make real offline conversations with. I found a risk in trying to make a human connection through our weaving – even though the images woven are floating around online, depicting mostly textiles workers that appeared in the Google search “Textile Labour Turkey” – when I during our conversations in the studio found out that Mortaza himself have migrated through Turkey. I found this setting rather painful, that he was now weaving for me, an image of a boy not very unlike himself. This created a strong wish for me to add my own labour into the project and therefore made a tapestry copying his. The jury described my contribution as: “Two different communication methods, Google and handcraft, in deeply impressive union. Our era’s speed meets historical slowness and creates a worldwide collective tapestry in several ways”. In reflection the two contributions, one woven by me and the other woven by Mortaza, I believe works well highlighting some of my research interests of time and time investments in the subject of weaving.