Galerie de Fabrique is opgericht op 1 april 2022 met als doel om textiel kunst te tonen in een hedendaagse kunst context. Daarnaast worden de werken die geëxposeerd worden ook te koop aangebodenGalerie de Fabrique was founded on April 1, 2022 with the aim of showing textile art in a contemporary art context. In addition, the works that are exhibited are also offered for sale.
I failed the first semester. I worked really hard. I was truthful. A day for my presentation I ended up in the toilet and saw myself in the mirror of the toilet roll holder. I didn’t liked what I saw. It seemed I was confronted with a lot of needs that were suppressed for years. And the house where I did my study and research. I didn’t liked it. It was cold there.
But the day of the presentation was lovely. I was really excited about my work and research. But I was also tired and lacked some distance to really understand what I had done. I told my teachers that the work reminded me of my grandmother (who was an amazing piano player and bobbin lace maker and house wife) and burst out into tears. Not so professional I guess ;). I got a “failure” as one the few students there. Very painful. Every one went for a drink and I went home alone. Came home did drink a beer and cried. One of the most lonely moments of my my life.
But the next day was just another day in life. The first thing I did after I stepped out of bed was looking out of the kitchen window and saw my husbands new Mercedes Benz car stuck in the mud. I did bursted out in laugh and found it an extremely funny start of my day. After a truck pulled the car out of the mud, we drove to Eindhoven to pick up my study work and arrived hours late on the lovely family party. Well my little niece called my husband “a poep chinees” which is not that nice I guess and should have been corrected by the parents. Of course the real outsider in the family was me.
In the following Christmas holiday I picked up my books and found many connections between my work Duchamp, Man ray, Rietveld and Mondriaan and the time they were living in. Guess what; Marcel Duchamp was a textile artist, a weaver. Just like me!.
The book that opened my eyes was the book by Schippers “The Bride of Marcel Duchamp”.
The old house where I lived and was making work functioned in my work as a time machine. Pointing back to both past and future needs. And my own role was that of a virtual weaver. I felt really happy with this insight
After Christmas I did my “redo” in Eindhoven and got an “Excellent”. I started the new course semester with an assignment on icons. I picked up the threads where I left them last semester; in the toilet with my friend Marcel Duchamp, and my personal critical notion on technology; the need of a good chair, a more comfortable sit.
It was a crazy time at the academy. I wanted to create a work with the whole department. So I started to experiment with sending out messages that could be picked up by others. Not so much text messages but compositions, instructions, hints that could be picked up, interpreted or finalized by others. It was a play. It was about reacting on each other with out speaking. A language of acts, objects, images, text, gestures. First in the our study collective space and later (or maybe that was where things started at the first) on social media (instagram and facebook). It was a kind of play hide and seek. It was a bit weird because you didn’t had a clue on who was participating and who wasn’t. Anyway things got messy. On the department at school it was such a mess. All the fast produced art works that ended up in the bin. All these wasted materials. So painful. And I had too much information in my head so I wanted to go back to my studio to process.
I went back to my studio and worked my Icon assignment. We had to pick two: I picked “The Fountain” of Marcel Duchamp and the “Up” chair of Gaetano Pesce. It felt like a perfect following up of my project of last semester (virtual weaving, technology and need of a good sit). To understand more of the work of Marcel Duchamp I reenacted some of his works; Nude Descending a Staircase, his twine, and a sketch for the Large Glass (The Bride Stripped Bare by Her Bachelors, Even). My research for the “Up” chair: I tested all the chairs in my old house. Alined them al in a row in front of the empty landscape behind the the house made a fire. Broke an eg on the snow and left my husband and the cold farmer house.
I showed my research to the teachers. They told me it was interesting but that is was not relating to design. I told them that I didn’t saw any problems there and speak out my need to get some guiding on working out my own research project instead of filling more school assignments. The head of the department told me that that was no option. I was really sad. Gave here my most beautiful handwoven scarf and left school. I tried to reorganize my self and moved in to my studio. Slept in the cellar in a closet for a short time where I made my own bed out of torn scarps of textile and went on with my research.
My housing condition was not so good and I had problems on concentrating on work. I moved to “Villa Rosenlust” a former ABN Amro building. But things got worse. The whole sanitary system broke down and me and my sweet friend Helly (who invited me in there) were in “problems” as I may say so. Sorry, I have to laugh if I think about it but it was not nice. You need a bit of steady ground and some comfort to make work. So some stress and fear here.
So after I lef school all research was in my studio and in real life experiences. Didn’t really knew how to do it. Just tried to stay on the rolling ball and use my intuition. And there is a lot I did learned the last 1,5 year. The goal I did set for my self: How to create high quality connections in work and life. Method; to research this on intuition and tacid knowledge without an idea of the outcome or form of it; I just followed my nose.
If you love some one you can have the feeling you want to give your life for this person. As a reward you want to own this love. That is human but problematic. There is nothing to own in this world especially not humans. All the ties you use can break on the end. Security is nothing more than a concept. I can say this now but I that is after the learning process. But good ropes can be made I guess. You even have machines for it ;).
I did set up the goal for myself to learn to love without expectations or vorm. Just give and receive. Not a bit but everything. Opening up all registers. Maybe the opening up of all registers Is something I did before but now I did it without expectations In any sense and I did it with full conscious. It was unnerving but a good thing to do.
I’m (or was) a control freak and person with a goal and ideas and I like to work towards the fulfillment of my dreams. I had to give that up for while. I gave up everything on “idea level” besides the hope that things would work out ok in the end.
Funny enough my personal and work research went along India and the Indian contacts I made. The Indian contacts I learned to know inspired me on many levels and I hope to visit this country later in my life. My European dead artist friends had an interest in India too it seems. In its philosophy and practice (o.a in Tantra which means weaving). I studied the sources, texts and images that inspired them in their development as artists (Marcel Duchamp en Piet Mondriaan). Also I did a lot of research on the lives of Agnes Martin and Simeon ten Holt. This needs explanation I know. Later more maybe.
I learned that on the end there is nothing to hold on to besides yourself, hope, time and change. And that is ok.
And there is love. There is plenty of it. For everybody and everything. For every animal for every human being for every mountain and ugly plastic scrap you can find on the street. You don’t need much for finding inspiration besides interest and attention. You just need to learn “to read”. I have Interest in ugly things, in beautiful things, in nice people in people with problems, in the rich in the poor, the young and the old.
A simple geste: If people notice or “see” each other they say hi. In this way you can also say “hi” to an object or an animal or a mountain. And the saying “hi” you can do on all levels and in a nice way. In what you make, cook, in how you look, in how you sound. It is not to show off but how to tune in.
On my daily walk I pass a lot of windows. Behind one tof them is a very old lady. I did gave here a wave. And she waved back at me. She weaved so enthusiastically she almost fell out of her big chair. I wave every time now when I see her. We don’t know each other but we “do” see each other.
This story is I getting too long!!! I should be just an introduction on where I really want to to talk about; the development of our poetic writing and reading skills. The creation of a new and old language.
And I should start with the building of this new future loom. Who’s going to join here? The more knowledge we build in the more lovely sounds, patterns, songs and sounds it will produce …
Ok would I like to end for now with a stripy ass here. It is is my own buttocks. The photo is made for my lovely French ex when I met him again after 10 years not seeing him and it is a tribute to Picasso who said “you have to stripe your are to make good art”. What is it means is that sometimes you have to be taugh and do your homework.
The stripes come from the blinds .. Morning sunrays that peep in… I think everything starts with energy and light… In the case of the pictures it looks like a case of being touched by light. This might be the most lightest touch you can feel. Only warmth. In case of weaving and stripes. Its story started in the time we started to “write” history
The first woven stripes were created like this I think; I imagine there was a streak of light on the weaving. And the weaver saw it and wanted to reproduce it in the weaving. This was possible because more than 1 color was available. And where there is one, more will follow. Before you know it you have got the rhythm … and so on. Before you know it you will have a (form) language, a calculation system, a language to express everything.
Well I probably will weave many stripes in many colours and in many different rhythms and formations. This last years I worked together with musicians and gave loom – piano concert. Way to go I guess. One of the last amazing things I found it that complicated weaving patterns were song to memorize them. And In Lyon the seems to be a guy that still can sing weaving patterns… We did write him a letter so just let see and wait. ..
0 Pussy, option, opening, hole,
I Dick, stick, nail, pole, line
– Thread/ line/ stripe/ sun ray / horizon/ evenaar
I=I Threaded loom
+ Horizon and a path, crossing, focus
– Line. Trip. We are going somewhere.
– – Trip for two
| = Stick
|_ = Angle. Meeting point
|_ X 2 = Frame.
L X 2 + 4 x 1 = Basic chair or stool
L x 2 + 4 x 1 = Modernism
Chair + Ass = Sit
Chair + Feet = Step
Chair + Feet × 2 = Stairs
Stairs + Shelve = Slide
I would say. Let’s walk together. Of course you can also take a plain but you will not see much of the trip.
Besides some small projects with ceci I have studied textiles for the past 7 years. I touched them, saw them, studied their techniques and colors. I have done in-depth research into the cultures that created them and the artists who were inspired by it. I studied the work of the artist like Sheila Hicks, Anni Albers, Agnes Martin, Marcel Duchamp, Piet Mondriaan, Simeon ten Holt and others. I did read about how they grew up, what they studied, what kind of material they worked with, who their friends were and what the challenges of their times were in the time they produced their important works.
For example: One of my favorite artists is Sheila Hicks. I did read many books about her work, her life, and figured out here teachers and studybooks. Sheila did a lot of fieldwork in South America. And the history of textiles there is so rich that I can write many books about that but I will just give some examples of what I did found on my way. I also ad some homework here because reading alone is not enough you have to do and try something to understand it.
I will not include pictures of the work of Sheila Hicks. I Guess you know here work. If not visit a library; https://www.stedelijk.nl/nl/collectie/86109-irma-boom-sheila-hicks.-weaving-as-metaphor
A marvelours intervieuw of Sheila with Monique Levi-Strauss you can find here: Oral history interview with Sheila Hicks, 2004 February 3-March 11
A friend, colleague (French medieval jurist Raoul D’Harcourt she got this book: “Textiles of Ancient Peru”. It is one of the most important textile books I have seen. I will just add some pictures that are in it and some material I worked with.
This lace, netted kind of work is too complicated for me and everybody else to reproduce I guess. But it is amazing!!!!
Fig. 16 – Serge weave (2/1), in the central part the diamond shape, the crossing order is reversed. In this book I did found many technique and shapes that are apparently visible in other cultures. The “diamond” and the “angle”.
My own study work (the texile techniques here are used to create texture and space, open and closed structures).
In this book of Ramon I did found many technique and patterns that I could relate to patterned textiles made by other cultures. The “diamond” and the “angle”, the “fret” or meander…. I did some study work on Anatolian Kilims made in the same tapestry technique. This is the most important book I used I the book Anatolian Kilims. You can find it in this list. It is full of amazing textiles and tries to describe the language behind it. Here some of own study work.
I also studied the European tapestry technique of Gobelin weaving. It took me half a year to weave this study sample. I will tell later more about the technique.
As you might know the old cultures that made these textiles had no written language. But they were extremely skilled in expressing them selves in textiles. Textile making was mainly done by women and their status was very high. Almost all textiles were woven on (in basics) a very simple and mobile back-strap loom. The back-strap loom is a simple and mobile device that is put under tension by the human body. The simple loom can create extremely complicated 24 shaft patterns. The loom and the textile on in can be wrapped up into a little bundle and be transported everywhere. I learned that weaving outside with a view on the mountains is the most amazing thing in the world.
Sheila also worked a lot with ropes and knots. I think it was in a Museum in Berlin that I saw the Quipu first. It seems it is now closed nowadays. Such a shame. Quipu (also spelled khipu) are recording devices made from strings, threads in all kind of material, colour and size. Historically used by a number of cultures in the region of Andean South America. The cords stored numeric and other values encoded as knots in all kinds of configurations. So it I a sort of administration of all kind of values. Well there is a lot more to tell here but I want to keep it short.
The rope or twisted threads is the beginning of trade. If you twist two threads into one you can create a cord that can carry heavy stuff.. The basic technique of twisting is to twist two filaments on your naked leg and rub them with your hand. I did quite some study work here by hand but these day’s I also use a lovely tool. The Magical Rope Machine. A work I made that is partly inspired by this technique is “The Whipped Cream Whisk”.
Another script less culture that inspired me is Sumba culture. Here the background of the culture and their textiles and some homework from me.
Indonesian Ikat is important inspiration for me. Two years ago I found a little book about Sumba culture. The books tells the beautiful story / myth of creation, weaving and culture. This culture which still exists and flourishes can be a an important source of inspiration not only for me but also for all cultures and existing weaving communities. It tells the story about how important it is honor creation, dead and resurrection. For me this story is not especially about a religious believe. It is about creation as such.
Being very precise where you start and from there build upon emerging knowledge. Giving knowledge to others and taking care that precious stories are kept and told again and again (like fairytales, like good story’s at a campfire). I think the story of Indonesian ikat and the stories that are told in this ikat weaving language inspires me because of its long and rich tradition. Personally I really cherish all the knowledge I did got from my grandmother, aunt and my mother. My grandmother was an excellent piano player and a teacher in batik and bobbin lacemaking. My aunt taught me weaving, braiding, spinning and embroidery. My mom was a dressmaker, my father was a photographer and my grandpa a painter and teacher. A lot of knowledge to cherish.
The ikat language is inspiring but foreign for me (the Dutch have no tradition with it). As a designer, weaver and researcher I hope that for this project we can exchange our different approaches and connect the existing qualities in a new way in a way that is inspiring for both partners. Also I hope to improve my own skills and knowledge to teach Dutch designers about this very inspiring technique and about how to create something beautiful and stunning that is connected to your own culture and background.
The story of the Sumba Myth: There once was a little island. Just one of the hundreds of island in the continent we now call Indonesia. The island is there already for a really long time.. One day the earth started to spat out water and fire and all the water flowed to the sea. The land dried up and the rain didn’t came back. It was a time of chaos and the people and animals died. When the life of the island almost disappeared one of the survivors of (a snake) made a loom from the last tree on the island. He began to weave around every pool of water and every spring until there was enough land. He restored the alternation between the dry and the wet season and created the natural order in which society could settle.
The Culture: The python is considered the lord of the land, the owner of the fertile soil. The ability of the snake to give new life derived from the fact that snakes regularly renew their skin. According to the myth, the island is a woven skin that lets trough the rainwater and protects the groundwater. In order to prevent the nourishing moisture from flowing away, both ends o the island must be tight off. This idea is expressed in a symbolic ritual act in the language of textile.
The listed number of islands in Indonesia is 17,508. All Island have their own identity and culture. That Islands are able to develop a very strong culture I learned from my research of the Japanese culture. The interesting thing about Sumba culture is that it always welcomed influences from abroad but still kept their own values, traditions and culture as standard. After visits of the Ducht queen and a study of the gifts she brought with her (o.a DMC embroidery patters as I remember) the Sumba weavers adapted some of those patterns and to please the quean the depicted here on some of the ceremonial weavings. If you have a close look on how the queen is depicted it is a bit doubtful if the wanted to honor her or just had a good lough because for them she must have looked a kind of ridicule in her western royal adornment. Anyway it was a nice way of saying hello to each other. So far as I know there are not really visible influences of the Sumba on Ducht cultural products but we will do some study work here on this topic. And if there weren’t any influences then we can give it a try now. Another question from me is: did the Dutch brought any Damask weaving with them as a gift?
Ikat is a pattern technique in which threads:
Black: Black cloth was created by dyeing old white canvases that turned dingy. The black cloth is is used to bury the dead. For this burial many layers are used on top of each other. Alternately black, white and indigo cloths are used. This alternation marks the transition from dead to rebirth. High nobility is sometimes wrapped in as many as 100 cloths. These tissues are used by the ancestors for creating new life.
Blue/ Indigo: Dyeing with indigo is seen as the dangerous task that is closely linked to the life cycle. The color change that occurs during the dye process: from yellow to green to blue when the threads come into contact with oxygen, reminds the Sumbanese of the process of dying and death, but also of new life.
Ikat: Ikat is a pattern technique in which threads of fabric of a fabric are tied at various points before they are dyed. Colored patterns are the woven with the tied and dyed threads. The societies of the east and west of the island of Sumba are obliged to make cloths with this technique. The binding of ikat yarn would stop the flow of liquid life juices within the body of the island. The people in the areas between the end points and the center of the country are allowed to weave but not to make ikat. Tying the warp threads would impede the free circulation of the life juices/ water.
White Cloth: The west Sumbanese may not make ikat textiel, they have to weave, to constantly renew the skin of the island. “White Cloths” are woven in this area. The use of white cloths may be linked to the idea that ancestors in Cape Sasar once landed. This is the place where the souls of the deceased go after their death. They meet their ancestors there. It is said that the deceased reside here for a while before they are reborn as an animal, plant or human being.
Meaning of the gift: The amount and size of the gifts and the exuberance with which they are exchanged strengthens the relationship between the living and the ancestors. The exchange of goods is much more than purely economic act for the Sumbanese. A gift to an unknown person created the possibility to enter in a new relationship. For each gift, one hopes to receive a gift later. The exchange of “things” creates obligations. By entering into such network of obligations with a many partners as possible , someone builds up an extensive network of relations through which his name can ‘travel far’, that is to say known by many. Raising riches or using income exclusive for themselves, is incomprehensible and unacceptable. Such an attitude is regarded as fundamental antisocial behavior.
Exchange: in the Sumbanese system of exchange and reciprocal dependency, apart form food, woven textiles and wickerwork play an important role. Spinning, weaving, braiding, making ropes and more generally bonding and binding materials together are activities that are associated with entering into relationships, marriage or the production of life.
Contrast: In Latoya, the years ends with a ceremony that is called” Padu”, or bitter, worn out. Old rice from which the nutrient elements have disappeared is buried. Just like the dead, the rice has to be wrapped by a several cloths before buried. The last cloth should be preferably be a Kodinese Wola Rembla, the cloth representing the house of the python. A few day later the new year is is ushered in. The spirit of the python, the rato, asked whether the year will bring prosperity. The Rato is believed, can see the python in the water, if his skin shows strongly contrast white and dark colors, this is a sign the he is healthy. This is a favorable sign. The harvests will be good. If the skin is plain or faded, this is bad sign and people, crops and animals can be struck by illness or disasters. Contrasting colors are a sign of fertility and life. The idea that the bright and contrasting colors are conductive to life is reflected in all Sumbanesian textiles. There must also be color contrast between the upper and lower body. This is not only important for traditional clothing but also for contemporary clothing. The lack of contrast weakens the wearer and brings bad luck. In the long run this can be fatal.
Ok two more textile cultures to go. Japan and Europe. …
Maaike Gottschal: I’m a weaver. I like the sound of the loom. I like to place the threads very precise. Preferably by hand. Like writing a letter. The weaving combines my love for color, texture, material and space. The handwork gives me time to think and to process. To make decisions when they are at hand. Textile is a la
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もったいない or 勿体無い
Mottainai, is the Japanese term for conveying a sense of regret regarding waste (material, energy, toughts). “Mottainai!” Roughly means “what a waste!” It is an ancient Buddhist word associated with the idea that objects have souls.