The works takes shape through material making, painting and sculpture as both portals and portable installations. Textile is used as a framework, while post humanism and phenomenology supports the investigation. Both the images and materials used are made from found materials and notions gathered from in-between spaces. There is a quiet chaos present, as the whirlwind of matter unfold: 3D-printing next to felting, oil paint on an old coconut fiber rug, deadstock clothes from my grandparents general store becoming a canvas, leaves balancing on spikes of turned wood or sewn together. These subjects exert an unsettling pull revealing two intertwined meanings of nature. One is the natural environment that humans idealise yet exploit. The other is nature as the inherent character of a thing, a site, a body or even a force. Although language separates these meanings, they exist in constant exchange, shaping our most inhabited behaviours. It is within this tension Gösta operates; assembling parts into installations that form temporary environments. Utopias and dystopias appear, both urban and wild, revealing how our care, or lack of care, for nature inevitably returns to us.