LP/ Record + Pre publication
50 pieces/ signed
Release data: end 2020/ begin 2021
With Lotte Bovi
It took me two years to write this little book. I started, while studying for a master’s in Contextual Design at the Design Academy Eindhoven, by telling myself to be very truthful and precise. And so, I did. To be honest, it was an unnerving experience, but I would encourage anyone to give it a try. This process of being honest and this book are about how we use energy, namely our own energy, the energy of others and the energy of our planet. If we do not start being more careful and precise with our energy consumption, we shall surely come unstuck.
The research is both a critique of the notion of technology and a celebration of creation and creativity. I hope that this book will help you understand that technology is not there to produce something cheap and fast. Its value lies in helping us to create art that addresses all matters in life.
The textiles in this publication are 52 cm2. I mostly design them as I work on the damask loom – the choices I make for one line will inform how I proceed on the next. It is a special loom that produces a wonderful chiming sound because of its many suspended metal bars. I’d love to replace them with different-sized glass bars or crystals, bringing me closer to realizing the poetic writing machine I have long envisioned.
I made this book because I want to work with a broad range of practitioners, such as musicians, composers, scientists, programmers, woodworkers, and glassmakers. I thought it was a good idea to reveal my creative and working process to discover and discuss what our practices may have in common.
Before we had written notation, we used chants to memorize complicated weaving patterns. I like the idea that in the near future, reading will move beyond just being about language and again involve all of the senses.
Soon, I hope to create all the textiles in this book in a larger size and show them as draping sculptures of cascading lines. I like the idea of allowing gravity to do the work instead of nailing textile to a frame. I shall also translate the fabrics featured in this book into white damask table wear. The wooden sculpture on page 4
-Damask; Damask (derived from the name of Damascus, where the fabric was first produced) is a weaving technique in which drawings are applied to a background layer of the same-coloured threads. Therefore, the pattern is only visible from a certain angle or in a particular light. Damask weaving spread from the east via the Silk Road. In the Middle Ages, this weaving technology arrived in southern Europe and soon found a new centre in the north in France, Belgium, and the Netherlands. Hand-woven damask from the 17th century is of extreme sophistication and unsurpassed quality. Having 45 threads per centimetre of warp in a loom is now almost unthinkable. The quality of linen damask with its silvery sheen quickly became a sign of wealth in Europe.
-De Stijl: De Stijl is a Dutch art movement, named after the magazine De Stijl, founded in Leiden in 1917. The movement’s members, who were all male, strove for a radical reform of art that kept pace with the world’s technical, scientific and social changes.