The creation of a prototype series of framed handwoven textiles, reminiscent of room dividers.
1520 threads, 16m in length. Each individually looped, straightened, threaded, pulled, knotted, and intertwined innumerous times. The repetitive motion of slowly pushing one up against the other forming landscapes of structures and lines. Aligning with the principles of the Japanese world-view of “wabi-sabi” – centering around the acceptance of transience and imperfection – being described as an aesthetic appreciating beauty that is imperfect, impermanent and incomplete in nature.
Creases, folds, a raw edge and loose thread here or there – offer new inspiration and, to a degree, determine and shape the outcome of the final pieces, removing an element of control from myself as the artist.
The objects embrace all imperfections, human interventions and marks forged during the development process, resulting in a series of unique tactile pieces that offer layers of aesthetic appreciation that may gradually reveal themselves to the viewer.
“DIVIDERS”
When thinking of traditional room dividers, the idea is to create separation in a space or to cover up a specific area in a room. But they can be so much more than that. They create safe spaces, calm areas, a distinction between two functional spaces, act as ornamental or decorative focal points or even form a connection between spaces. My finished pieces, although still being prototypes, provide added value and a feeling of calmness to spaces for people in various living and life conditions. They can either be used traditionally to divide a space, be placed in a room reminiscent of a free standing art work or they can be hung on a wall like a painting. I did not want to over-complicate my designs so I chose to work inside a specific framework of natural materials and a predefined colour palette. They play with texture, colour, transparency, density, pattern, subtle and refined structures, contrasts of softness and linearity – each of them a unique combination of elements and alluded emotions. FRAMEWORK
Each divider consists of a combination of the frame, giving structure and support as well as the textile, which includes materials, texture, colour and contrast. The literal framework of the pieces was developed and handcrafted in cooperation with my father in our workshop in Vorarlberg. In a more liberal sense, the framework of the project holding it all together is a culmination of my experiences in life as well as in design, my learned skills as a weaver and artist, my personal aesthetic as well as my willingness to adapt and improvise. “THE PALETTE”
The subtle colour palette chosen is purposefully bringing attention to the textures and contrasts of the combined materials. The neutral colour scheme also resonates with the inspirations drawn from nature that played a role in the design of the weaving patterns and the overall intended raw feel of the project. Some patterns are almost indiscernible and melt into the structures of the woven pieces while others are distinct and concise. The addition of dark elements brings contrast and interest to the otherwise soft structures and textures of the objects. They also give an opposing characteristic to the colour scheme in the sense that they could represent the transience and perishability of natural materials most commonly seen in withering leaves or decaying wood. Dark and light nuances are bridged by subtle mid-tones, creating a balanced look and feel of the collection. 7h… preparing and winding the warp 5h… warping onto the warp beam 6h… straightening the warp yarn 8h… pulling the individual threads through the heddles and harness 6 h… pulling threads through the reed comb and tying the warp onto the front 2h… correcting mistakes and ensuring even tension 40h… spent directly at the loom weaving Name des Betreuers: Paul Iby
When thinking of traditional room dividers, the idea is to create separation in a space or to cover up a specific area in a room. But they can be so much more than that. They create safe spaces, calm areas, a distinction between two functional spaces, act as ornamental or decorative focal points or even form a connection between spaces. My finished pieces, although still being prototypes, provide added value and a feeling of calmness to spaces for people in various living and life conditions. They can either be used traditionally to divide a space, be placed in a room reminiscent of a free standing art work or they can be hung on a wall like a painting. I did not want to over-complicate my designs so I chose to work inside a specific framework of natural materials and a predefined colour palette. They play with texture, colour, transparency, density, pattern, subtle and refined structures, contrasts of softness and linearity – each of them a unique combination of elements and alluded emotions. FRAMEWORK
Each divider consists of a combination of the frame, giving structure and support as well as the textile, which includes materials, texture, colour and contrast. The literal framework of the pieces was developed and handcrafted in cooperation with my father in our workshop in Vorarlberg. In a more liberal sense, the framework of the project holding it all together is a culmination of my experiences in life as well as in design, my learned skills as a weaver and artist, my personal aesthetic as well as my willingness to adapt and improvise. “THE PALETTE”
The subtle colour palette chosen is purposefully bringing attention to the textures and contrasts of the combined materials. The neutral colour scheme also resonates with the inspirations drawn from nature that played a role in the design of the weaving patterns and the overall intended raw feel of the project. Some patterns are almost indiscernible and melt into the structures of the woven pieces while others are distinct and concise. The addition of dark elements brings contrast and interest to the otherwise soft structures and textures of the objects. They also give an opposing characteristic to the colour scheme in the sense that they could represent the transience and perishability of natural materials most commonly seen in withering leaves or decaying wood. Dark and light nuances are bridged by subtle mid-tones, creating a balanced look and feel of the collection. 7h… preparing and winding the warp 5h… warping onto the warp beam 6h… straightening the warp yarn 8h… pulling the individual threads through the heddles and harness 6 h… pulling threads through the reed comb and tying the warp onto the front 2h… correcting mistakes and ensuring even tension 40h… spent directly at the loom weaving Name des Betreuers: Paul Iby
