Pernille Lonstrup is based in Amsterdam, the Netherlands. Originally from Denmark, she moved to the Netherlands in 2007 to attend the Gerrit Rietveld Academie, where she received her Bachelor’s degree in Fine Art in 2010. In 2012, she earned her Master’s in Artistic Research from the Royal Academy of Art (KABK) in The Hague.

Lonstrup exhibits both internationally and within the Netherlands. She made her debut as a visual artist at the prestigious Spring Exhibition at Charlottenborg Kunsthal in Copenhagen (2009). Since then, her work has been shown at De Appel in Amsterdam (2012), in Shenzhen, China (2015), at WG Kunst in Amsterdam (2018), the Grote Kerk in Alkmaar (2019), and the Van Eesteren Museum in Amsterdam (2024). She was nominated for the 6th Sybren Hellinga Kunstprijs at Kunsthuis SYB (2013) and participated in the first SYB Triennale (2015). Currently, her work is featured in the IAPMA Paper Biennale (2026) at the Silkeborg Bad Cultural Center in Denmark.

The way we use and misuse language and communication is a core interest in Lonstrup’s practice. Her work spans various mediums, including spoken-word performance, music, video, and installation. In addition to her studio work, she curates exhibitions and maintains a social practice working with local communities, as seen in projects such as

De Kracht van de Tuinsteden (2019), Weaving the Words (2023), and Haak en Maak (2024–2025).

In 2020, Lonstrup began further developing her signature paper-weaving technique, a method she first established in 2016 during an artist residency in Shenzhen, China. Feeling "lost for words" in a new linguistic environment, she began investigating the Chinese writing system by weaving Chinese and English newspapers together. Her goal was to strip the newspapers of their literal meaning, highlighting the structural differences between the image-based Chinese character system and the sound-based Roman alphabet.

Upon returning to these newspaper weavings in 2020, she drew inspiration from her own childhood experiences with written language. By transforming discarded text into woven art, Lonstrup challenges our heavy reliance on the written word. Rooted in her personal background with dyslexia, her work makes visible the reality that language is an imperfect tool, shaped by the varied abilities and access of those who use it.