Utfläkt på ditt golv (exposed on your floor) 2021
Konstfack CRAFT! Textiles 2019-2021, MA project
To find the right balance, for lying on a floor. To roll out your weave from the loom and see that you’ve lost yourself in details. A desire that one’s purest self looked different. A constant hunt for a better way to make a weave, to endure the slowness of weaving.
Five weaves, woven on the same warp. I call them a warp family. Every weave is a try and a failure to weave a rug. Instead they have turned into different characters, portraying my ongoing struggle with, and love for, the warp.
There is an attraction between weaving and painting. Am I trying to recreate the hand’s impulsive movement in the weave? A yearning, to capture the moment. But the weave is built in rows: keep the feeling until the end of its movement. Time is preserved in the weave, the train of thoughts can never be hidden there.
The rug could be an agora, a gathering point, for strong threads. There is so much material gathering there, it’s an opportunity to give a lot of material value. Every weave is a beginning and an end. It is a whole life in there(ta bort?) A place that has a built-in language, while its tactile qualities erase the distance between body and art. When we touch it, we stroke our hand over the weaver’s feelings and thoughts.
”amandine josephine 2020” ”Who was it that said ’I have been to hell and back’?” ”Bakom stängda dörrar”¨ ”Forna tiders tunga” ”Splash- l’origine du monde”
Konstfack CRAFT! Textiles 2019-2021, MA project
To find the right balance, for lying on a floor. To roll out your weave from the loom and see that you’ve lost yourself in details. A desire that one’s purest self looked different. A constant hunt for a better way to make a weave, to endure the slowness of weaving.
Five weaves, woven on the same warp. I call them a warp family. Every weave is a try and a failure to weave a rug. Instead they have turned into different characters, portraying my ongoing struggle with, and love for, the warp.
There is an attraction between weaving and painting. Am I trying to recreate the hand’s impulsive movement in the weave? A yearning, to capture the moment. But the weave is built in rows: keep the feeling until the end of its movement. Time is preserved in the weave, the train of thoughts can never be hidden there.
The rug could be an agora, a gathering point, for strong threads. There is so much material gathering there, it’s an opportunity to give a lot of material value. Every weave is a beginning and an end. It is a whole life in there(ta bort?) A place that has a built-in language, while its tactile qualities erase the distance between body and art. When we touch it, we stroke our hand over the weaver’s feelings and thoughts.
”amandine josephine 2020” ”Who was it that said ’I have been to hell and back’?” ”Bakom stängda dörrar”¨ ”Forna tiders tunga” ”Splash- l’origine du monde”
Photo: Dennis Liljebäck
Film: Jonas Lythell
