Finoeggeli presents a frantic woman caught in a wild wagon ride, hurtling across a technicolor landscape with the breathless urgency of a cartoon in overdrive. Christina Forrer channels the visual grammar of slapstick and exaggerated physical comedy into woven form, yet the scene carries an undercurrent of something more unsettling, a barely contained societal aggression lurking beneath the surface levity. Working in cotton, wool, silk, and watercolor at an intimate 26 by 33 centimeters, Forrer compresses this careening drama into a small, densely charged field where the material structure of the weave itself mirrors the tension of the figures it depicts. Forrer, born in Zurich in 1978 and based in Los Angeles, has built a compelling body of work around naïve yet emotionally fraught figures navigating conflict and struggle. Her first institutional solo exhibition, Grappling Hold, held at Swiss Institute in 2017, established the conceptual foundations that Finoeggeli extends and deepens. The formal relationship between warp and weft becomes an analog for the push and pull of her narrative scenes, making each textile a kind of structural argument as much as an image. Her work has been presented at the Hammer Museum, The Jewish Museum in New York, and the SCAD Museum of Art, among other venues. For collectors, this small-format work offers an unusually concentrated encounter with Forrer's practice. Its modest scale belies its ambition, packing vivid color, psychological charge, and technical sophistication into a single tightly woven moment. Signed by the artist and commissioned in connection with the Swiss Institute Benefit Auction, Finoeggeli represents both an entry point and a rewarding depth of engagement with one of the most distinctive voices working in contemporary fiber art today.