From Björn Springfeldt’s text, January 11, 2010:

“Märit Runsten sews sculpture. Is there any movement more opposed to man’s forceful cutting and striking than this: the tip of the needle penetrating the fabric, and the thread following in its wake, drawn inward toward the body of the one who is sewing?

Again and again, hundreds, thousands of times.
[…]

In Märit Runsten’s hand, the needle becomes a political weapon, and the insistence, the almost incomprehensible patience, a warning: she will not give up.

So much of the textile art we have seen before is soft also in its content, warm and even pleading, whereas what we encounter here is something entirely different. Strong, beautiful, magnificent, self-aware, and seductive, with a biting energy in its attack. The lion’s claw hidden in the paw scratches when we least expect it.
[…]

Around Märit Runsten one discovers Frida Kahlo, Katrine Helmersson, Vera Nilsson, Kiki Smith, Meret Oppenheim, Siri Derkert, Sara Granér, Hannah Ryggen, Lena Svedberg, Eva Aeppli, Barbro Östlihn, Tracey Emin, Guerrilla Girls, Lena Cronqvist, Niki de Saint Phalle, and many others marching along…”