Partitions textiles

Partitions textiles


the textile work of arts that you are discovering are the result of a pursuit which probably started in childhood. at least in the seventies, as I spent some times in Gordes in a family of potters where I was an au-pair girl. these people were widely opened on the artistic world. they opened their bookcase to me and I found the catalog of an ancient quilts exhibition that had taken place in Lausanne that year. it deeply moved me to see how from basic geometrical elements, from small blocks, it was possible to create optical illusions and to express at the same time the material sensuality.
the same summer it happened that I also could visit the Vasarely museum
during long afternoons as I was in Gordes at only 2 km from the museum. some sort of alchemy probably happened
between these 2 experiences. I only work with textile and the material is very important to me I mean, an inspiration, a composition idea,
first leans on a very very slow collection of material;
it takes sometimes 4 or 5 years. I usually do not have any idea of the composition,
but little by little I sort in boxes nuances and textures
which interest me. I collect these fabrics, many are also given to me by friends … and one day I do not know why somewhere in France I buy a piece,
and a few weeks later, this piece exactly fits in the missing space. as if by magic ! This is a real pleasure,
the fact that long before I start working on the materials, the colors, the sensuality, the texture, the brightness already are there. You see, the material and me is a very old
and a very intimate story. As a matter of fact when I was a child, I attended courses in Ecole des Beaux Arts in Annecy, France. We used to have 2 rooms, one for painting and one for textile where we worked on large hessians. I thus experienced pleasure and freedom in these 2 workshops, as I used to stay there every Thursday mornings. These feelings remain in me and even during the long years when I did my scales, I mean, I repeated and copied ancient quilts, I found the same pleasure in the superimposing of different kinds of material, which suddenly do not have the same color
as when they were by themselves. of course when you work on 100″ by 100″ formats hand drawing is somewhat limited. step by step I started to participate in international textile contests and I introduced data processing in my work in the beginning it was somewhat under pressure but I realized that to test various construction ideas
and keep a large overview, and to be able to step back,
I needed to invest in data processing. now I have my samples palette beside me. I therefore keep all my textile pieces by me I number them purple 1, purple 2, purple 3 according to their shades and I copy them on the computer color palette. and I am rarely surprised by the result, really seldom surprised by the result… a large format cannot be worked on in small blocks only with computer drawings, I have to make a full-scale layout I mean, I pin it against the wall or on the floor in order to have an idea of the composition. and sometimes I change a material at the last minute, because it takes too much space compared to the others because only this piece attracts the eye and sometimes it’s only a tiny dotted red line, but it fills all the space,
it has to be removed, I must find a less shining red less aggressive, or less pale. I am going to introduce you to one of my quilts, their specificity is their very large formats they measure between 4 to 6 square meters I often tried to understand why I composed such large formats. first I am very much interested in the challenge to compose with small bits a monumental work. second, I find that a large format allows
a dialogue with architecture and creates an acoustic and thermal atmosphere when hanging it, I mean the noises are really soothed and I find it really brings a new dimension
to the space where they are presented. I also believe that the idea of the large format
comes from my childhood I had the happy opportunity to visit the Jean Lurçat exhibition
“le chant du monde” in Annecy castle, in fact now it is installed in Angers and as a matter of fact it has been rarely exhibited. I was maybe 7 years old and my eyes scanned from top to bottom the explosions of colors on the stone walls. and I think I am still looking for the movement and scale of this work that was much bigger than me. To see at the same times the details and the whole set, it is necessary to move, to step forward, to move back and this movement adding up to the movements I create in the “partition textile” seems important to me. I am going to introduce you to “reminiscences”
which is my recent work. It is inspired by a slightly irregular check pattern made by Kandinsky He named his work “Trente”. I have been completely fascinated by the work during about 10 or 15 years and one day I have dared, I dared try and draw and express some movement as he expressed with a positive-negative effect. I then started at the beginning of the year I did a lot of hand-work full-scale
to try and find motifs which expressed movement, which dialogued and which were organic and mineral forms altogether, at the same time curves and angles,
on a black and white background. then I did a first realization
and when I saw it I felt like working on the same idea with see-through material. It was the first time that I worked with organza.
I worked in black and white this material reminds me of tracing paper which is very transparent but also is solid, somewhat like a wire netting. here you can see one of the panel it’s the second panel “reminiscence B ” variation and it is possible to see the light through. the panels are only 12″ large and they are irregular thus they play with the wall,
or they can be used as a screen altogether they divide and enliven the wall. I found interesting, compared to what I had done up to now, in 3 layers, to experience another way to stimulate the material another way … to collaborate to the acoustic atmosphere of the room, to its light… I think I am starting a new exploration of lighter and more transparent creations. apart from “reminiscences” I made 5 panels …
but I feel like making some more; I will have to try and express other organic and mineral movements, and they will have to fit in the whole composition. I find that one of the charms of these panels,
of these separated kakemonos is the possibility to hang them, either in a regular line,
or irregular, or in a wall angle… as they are in the exhibition room here. well, it’s another way to become part of the movement. here I show you a detail a view from above of a part of “X²” which has been built from a glass pavement harmony that Josef Albers had composed. I then worked with materials of very different textures, there are very simple canvas also printed linen or honeycomb stitch. the result is a stained-glass window effect although the material is not at all like stained-glass window because there is a range of colors which often are cold colors and they play with the light. the result is quite fascinating the stitching recalls the stained-glass window technique and gives some volume to the whole work, and allows a shade effect. this wouldn’t exist with the assembling only. there is a polyester core which creates swelling and acoustic qualities. something amazing is to note how it is possible
to play with blacks and greys and a happy feeling and a feeling of light although… the whole set is very dark. “franchir” is a composition made with strips of slightly different heights The textures are also of all kinds not all is cotton there are damask fabrics there are canvasses there are also some printed fabrics. all this gives another vibration adding to the vibration of on one hand
the widths of the slightly irregular strips and on another hand, the heights. It makes me think at what was done
at the beginning of the 20th century with sounds and lights
experiments and explorations that have been made by the painters
at the beginning of the 20th century. It is funny to see that at the Bauhaus there was a very very lively
and dynamic textile workshop. there is a fabric range
that is by chance of the same style It is … I don’t know why in fact patterns manage to meet like that through centuries without any special information. in fact this partition has a story I love very much the art of Gustav Klimt and I collected through the years some precious materials which correspond to the harmony, I mean,
to Gustav Klimt’s harmony. that was this fabrics range box. I found it difficult to create a motif first because the materials have a different thickness, there are velvets, brocaded fabrics, there are damasks, I therefore needed a motif which doesn’t bear cutting and assembling. in the end I chose a pattern of set in triangles with a good stability when vertical and it gives the impression that it can’t fly But in the end it has a centered feature, very straight. It has been quite interesting to feel while working on it and then to show it once finished. one important aspect of my work is slowness. I can work many hundred hours on a “partition” such as this one. phase one is the search for a motif on computer then I choose the materials after this comes the assembling phase
of a 4 trapezes pattern with a little square in the middle
and another square for hanging it. therefore I make the whole patterns series,
between 3000 and 12000, according to the partitions thus I make what is called the surface It takes, well, quite a while, all the assembling time after that I add 2 layers, 1 back, that is here behind and brings holding, and a core which is in polyester in that case
but can also be in cotton or silk. In silk it’s quite interesting as well because It gives less swell but more drape and volume. the stitching is done with a frame or a tambour. this allows me to fix the 3 layers together and to make a small dotted line. the stitching is thus handmade and it looks like a small dotted line, for example on this part which is marbled material,
I didn’t do any dotted lines, therefore it gives relief … There, you see the dotted line, it adds to the composition a sort of mist with lines in which were not expected; in that example the lines follow the pattern but they could also free themselves from
the pattern, live their life, create their own movement. to me they add a lot of warmth
and sensuality to the whole work. one day somebody was looking at « abyss »
and told me that the colors were those of the amish if you already have seen amish quilts
yes indeed it is the amish colors, I probably took some of the amish colors but I also borrowed the mosaics in the Alhambra palace in Granada I used some of the working methods of the Bauhaus painters. at the beginning
I was so fascinated by all those sources that I couldn’t help copy them. I think that what I’m looking for the movement. I am trying to express a movement adjusted a set in movement something of the inexpressible, the power of life a vitality which would be dynamic but not overwhelming not exciting, but a vitality
though which pushes forward. there is a line on the light
which can be found in the quilts as well as in the Bauhaus creations and what amazes me is that in a dense “partition textile” it is possible to see some transparency. I do tend to simplify the forms
that I want to express to reach something That a large number of people can understand. One day one of my friends, a geologist, told me
“what you like in textile is not textile, but the links
that textile allows you to make”. I think it’s quite true,
and this exhibition confirms this. Textile is altogether very intimate and very social It is probably our first contact with civilization. I believe that some sort of revelation happens when one looks at something made with material, when a textile creation echoes to something anthropological. english subtitles – Béatrice Guiomar

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