Weaving patterns are not merely decorative; they are abstract constructions that reveal something essential about how we relate to the world.
See my publication Ola Linea, the Self-Striping Stripe with 24 textile and letter concepts that I made as visual thesis for my Master’s in Contextual Design in 2020. A lecture about the (art)historical research behind my practice I finalised for the Contextile Art Biennale in Portugal in 2026. See the pdf of the lecture Anywhere from Anywhere in this link.
In addition to teaching textile master classes, I have been studying textiles as a language for the past 12 years. Each technique offers possibilities for expression through textiles. Guided by expert teachers worldwide and extensive hands-on research. I have studied and explored various weaving and pattern techniques (ikat, brocade, complementary weft, Saori, damask, velvet, double weave, Gobelin, tapestry, kilim, and katazome), guided by many teachers and extensive hands-on research.
Explore over ten years of technical, hand-crafted textile research and aesthetic expertise here: ICI
The basics of textile making I learned from my family members at a young age but in the last 12 years, I had many inspiring teachers worldwide: Bobbin Lace making (my grandmother), sewing (my mother), weaving (my aunt) Indigo and Natural Dye by Michel Garcia (FR), Mr. Matsueda (JP), Aboubakar Fofana (A), and Takaraji Masenkou (JP), yarn spinning Andre Snoeijer, tapestry, kelim, gobelin weaving by Margaret Sabbee (NL) Ikat weaving by Mr. Matsueda (JP) and the Dutch Ikat Kring, Brokaat and Supplementary weft and backstraploom loom weaving Artist in Residency Arquetopia Oaxaca (MX) and Urubamba (P), twill patterns and 4 shaft weaving; Tanny van Dijk (NL), Damask Weaving; Corrie van Eijk (NL), Velvet; Gillian Vogelsang (NL), Brokaat (Arquetopia Oaxaca (MX), growing flax by the Linenproject 2019-2024 (NL).
