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Which clippings match 'Textile Arts' keyword pg.1 of 1
28 DECEMBER 2014

The beautiful decorative patterns of faux tribal masks

"The young Dutch designer starts each of his creations on the basis of a material experiment. This enables him to discover production techniques and aesthetic developments. The result lies within unusual and attractive patterns, colours and structures. ... His love for materials has given birth to a passion for textiles that have a strong impact on his creations and pushed him to imagine a series of bizarre masks, in 2010; masks that are to Matisse, 'a characteristic sign of our essence'."

(The Red List)

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TAGS

2010abstract forms • aesthetic developments • aesthetic objectsanimal resemblances • animal-mask • Bertjan Pot • carpetcolour • colour combinations • colourful designs • costume designcraft and materialscraftingdecorative artsdecorative sewingdesign craftDutch designfabric • faux tribal art • geometric designs • geometric patterns • handicraft • human face • maskmask-making • material experiment • material practicesmaterials investigationnaive stylepastiche • production technique • rope • rope masks • sewing and craft • sewn together • stylised formstextile artstextile design • The Red List • vibrant colourvisual patternzoomorphism

CONTRIBUTOR

Simon Perkins
11 JULY 2012

Maurizio Anzeri: embroidered patterns on found vintage photographs

"Maurizio Anzeri makes his portraits by sewing directly into found vintage photographs. His embroidered patterns garnish the figures like elaborate costumes, but also suggest a psychological aura, as if revealing the person's thoughts or feelings. The antique appearance of the photographs is often at odds with the sharp lines and silky shimmer of the threads. The combined media gives the effect of a dimension where history and future converge. The image used in Round Midnight is an early 20th century 'glamour shot' that at the time would have been considered titillating for both the girl's nudity and ethnicity. Anzeri's delicately stitched veil recasts the figure with an uncomfortable modesty, overlaying a past generation's cross–cultural anxieties with an allusion to our own.

'I've been collecting old photographs for a long time. A few years ago I was doing ink drawings with them and out of curiosity I stitched into one. I work a lot with threads and hand stitching, and the link to photography was a natural progression. I put tracing paper over the photo and draw on the face until it develops. Sometimes the image comes straight away, suggested by a detail on a dress or in the background, but with the majority of them I spend a lot of time drawing. Once the drawing is done, I pierce the photo with a set of needle–like tools I invented and take the paper away; the holes are obsessively paced at the same distance to convey an idea of geometry. When I begin the stitching something else happens, drawing will never do what thread will–the light changes, and at some points you can lose the face, and at others you can still see under it.'

'There's a dynamic in what happens between the photograph, the embroidery on top, and you standing in front looking at it. I try never to completely cover a face, you can always still see the face underneath. There are no rules other than I always leave one or both eyes open. Nothing is bigger in my head than a face, it's the best landscape we can look at. It's all to do with the centre, the body. Like a costume or other identity, my work reveals something that is behind the face that suddenly becomes in front. It's like a mask–not a mask you put on, but something that grows out of you. It's what the photo is telling you and what you want to read in the photos. I get my ideas from many different sources: it could be theatre, or someone dressed up on the tube, a tribe in Papua New Guinea, or Versace. It's never one specific thing.'

'Photographs from the 40s and 50s have a totally different quality from photos we're used to today. We don't recognise them as photographs now, they really look like watercolours or drawings. The images I use are anonymous, I find them everywhere; I'm really into flea markets and car boot sales, when you enter you have no idea what you're going to encounter. In everything I see there is something I am interested in, but I try to look at them as plain canvas. Art history is very important to me, it's all been done before but it's never been done by you: if you don't look into the past there is no chance to go into the future. The surrealist movement is important to my work, but I don't become obsessed by it, it's not dictating rules. I understand history in a formal respect, and think of past artists like travelling companions–making work is like going for a walk with them. At the end of the day it's about humanity.'"

(Saatchi Gallery)

Fig.1 Maurizio Anzeri, "Rita", 2011, Embroidery on photograph, 23.5 x 17.5 cm.

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TAGS

antique • antique appearance • art history • car boot sales • costumecraft nostalgia • cross-cultural anxieties • design craftdesign revisionism • elaborate costumes • embroidered patternsembroidery • embroidery on photograph • facefigures • flea markets • foundfound imagesgeometryglamour shot • hand stitching • inner thoughts • making art with recycled materialsmask • Maurizio Anzeri • modesty • needle • nostalgia • old photographs • overlaying • photographportrait • psychological aura • Saatchi Gallerysewing • sharp lines • silky shimmer • stitchedstitching • surrealist movement • textile arts • threads • travelling companions • veiledvintage

CONTRIBUTOR

Simon Perkins
10 OCTOBER 2009

Mainstreaming sustainable fashion

"4,5 Katharine Hamnett in a video interview explained how in the late 1980s she had been prompted to check, to make sure the company were not doing any harm. That meant looking at the entire supply chain to make sure that every phase was as good as possible. They had to apply very stringent standards from the very beginning. It started with the farmers given the millions involved in cotton agriculture who are exposed to pesticides, on a daily basis. It lead to focus on organic cotton but regrettably not using silk and considering all the packaging, dyes and printing inks. She has used certification, traceability and accountability, right the way through the supply chain but found taking complete control of this complex supply chain was the only way to enable this. She believed that the most effective to target were the CEO's, of clothing companies and fashion retailers. Mainstreaming sustainable fashion was happening because large retailers were realising that it was increasingly what consumers wanted: products that don't do damage to the environment, or that use child or sweated labour. Retailers ignored this at their peril. Sustainable clothing had to be sophisticated, glamorous and the bottom line was always economic. Sustainable clothing did not have to be more expensive. It could and should be affordable. She though that the ETI labour code should be compulsory and governments should act to have country of origin labelling for fibres."

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art for housewives • art of recyclingbelongingblogbricolagechangecommoditycommunityconsumptioncraft • crochet • Cynthia Korzekwa • design intelligencedesign responsibility • domestic arts • dyeecologyembroideryemotive manipulationengagementenvironmentenvironmentalethicsfashion • fiber arts • folk arthomemadejewelleryjunk art • Katharine Hamnett • knittingmaking art with recycled materialsobsolescenceorganicpaperpesticideproductionprotest • reconstructed fashion • recyclerecyclingremakereusesocial changesocietysustainabilitytextile artstransformation • trashion • urban crafts • waste

CONTRIBUTOR

Simon Perkins
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