The shell form of the ULTIMA pieces is central to Gjertrud Hals’ art. In the words of curator, Tove Lande : ”For Gjertrud Hals, the shell is both an ideogram and an archetypal symbol. She prefers to use dense symbols that may encompass several meanings, and for her the shell is precisely that type of symbol. On the one hand, it represents the protective membrane between life and death; on the other hand, it is a symbol of the jar or vessel. In addition, the shape strongly reminds her of the shells she used to play with as a child on the beaches of Finnøya.”

Indeed, Gjertrud Hals compares the shell to an organic membrane – at the same time protecting, fragile, fatal and liberating as ”Premature fracture of many fragile protective shells or membranes means almost immediate death or destruction. On the other hand, a cleavage at the right moment may signify life liberating itself or even an idea or thought breaking forth and materializing itself in creativity”.

Gjertrud Hals is considered as an important pioneer in the field of fiber art. Gjertrud Hals focuses on natural fibers that she transforms through various techniques including weaving, knitting, casting, spraying and cutting. Trained in the art of tapestry weaving in the 1970’s, Hals’ interest in feminism and women’s culture associates her with the new wave of women artists exploring the sculptural potential of textile. Hals’ works have been acquired by private and public collections, such as the Centre Pompidou, Paris, France; National Museum of Contemporary Art, Oslo, Norway; The Museum of Contemporary Crafts, New York, USA; The Museum of Decorative Arts, Lausanne, Switzerland; Mobilier National / Les Gobelins, Paris, France and the Bellerive Museum, Zürich, Switzerland.