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SDA 2022 Conference - Community Ties - Surface Design Association Surface Design Association
On Sunday August 22 2021 our SDA EU exhibition BEYOND BOUNDARIES
ended at High Five Art gallery in Baarle.
The show was on for 4 months and was well visited.
Also several pieces were sold!
Below some pictures taken during the finissage.
Besides most of the Dutch & Belgian members there were also 4 guests from abroad:
Mascha Mioni & Heiner Graafhuis (Switzerland)
and Elinor Sigler plus husband (Paris/France)
They came to pick up their work and to celebrate with us.
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| Willy Doreleijers - Mirjam Pet - Rita Trefois |
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| Heiner Graafhuis & Dorothy Wedderburn (Galerie Zone) |
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| Mascha Mioni (taking pictures) - Pauline van Asperen - Francisca Henneman - Lia Flemings |
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| Huib & Helda de Wit (left side) - Flox den Hartog - Anneke Herold+husband - Mirjam Pet, Willy Doreleijers & Jette Clover - Rita Trefois - Ria van Dijk |
Heiner Graafhuis
& Mascha Mioni
Francisca Henneman
& Lia Flemings
I had an interview with TxP, our national textile magazine.
Below you will find the article - sorry, but it is in Dutch.
And then the last post for Francisca Henneman.
She is showing 3 different objects, all three in Leiden at Galerie Zone
the Sessilia serie: magna, viridi and circum
Francisca's
passion is experimenting, developing and creating form through texture and
structure. By working intuitively and directly
with the material in her hands new objects emerge which give shape to her
ideas.
The texture
in the structure gradually grows into a 3D sculpture.
She uses the ancient textile crafts of crochet and knitting to connect a modern ‘alien’ material, contemporary industrial rubber, and this challenges her to create something new and original.
The original
texture and structure becomes merged into one smoothly rolling motion in which the
rhythmic repetition within the sculptural objects are reminiscent of growing
organisms in a wonderful world.
Francisca's
starting point is always to create a new visual form with recycled materials,
using them in a different way to that for which they were intended.
http://www.francisca-henneman.eu
Mascha Mioni has work at both galleries, Leiden and Baarle Nassau
San Augustin
Mascha Mioni
Switzerland
Felt, silk, gold
embroidered
My spiritual guide, Louise Bourgeois, writes in „The Fabric Works“:
„I do not know the why
and
I do not need to know the why
to do my work
or do I owe the why to anybody -
anybody“
This work can be seen in Baarle Nassau
And the following two objects can be seen in Leiden
Macha Mioni
Switzerland
old clothes wrapped with sari silk waste, cut in strips and sewn
Mascha Mioni
Switzerland
old clothes wrapped with sari silk waste, cut in strips, wooden branch
Marloes van Rees
showing in Leiden only at Galerie Zone
Freedom of speech in need of boundaries?
sizes 48 x 48 cm
shibori, patchwork, batik, quilting
batist cotton, cotton, reactive dyes
Katie Taylor:
Her work can be seen in Leiden, at Galerie Zone.
We leave a trace
Katie Taylor
Great Britain
Dimensions: 20” x 20”
Used technique:
Lace ink painting
Used materials:
Chinese ink and red fibretip on
Watercolour paper
for more information https://www.kmtaylor.co.uk
Kissa Tindal:
her work is represented in Leiden at Galerie Zone
Rethink
Kissa Tindal
Denmark
Batik, collage burned out or cut
Cotton batist
For the last
20 years, my main ambition has been to make tapestries. Working with a large
image area allows me to apply many layers of meaning with different techniques
such as dyeing, wax batik, printing, edge firing and collage. Together I call
it “surface design”.
Elinor Sigler,
showing her work in Baarle Nassau at High Five Art.
Joubarbe
(Houseleek)
Elinor Sigler
France
Free motion
quilting
Cotton, stamped,
screen-printed, dyed,
The Queyras Regional Nature Park
in the French southern Alps presents a treasure trove of flora and fauna.
In the ‘90s I took
numerous photographs of wild flowers there, and I am now working on a
series of “Alpine
Flowers”,
incorporating these into my quilts.
The photos have been scanned, digitally altered, and then printed on fabric by an internet design and printing site. Joubarbe and Edelweiss are the fourth and fifth in the series.
The fabrics I use in my quilts are almost always hand-dyed, hand-painted or printed with my photos; my quilts are usually drawn from images of organic materials.
Embellishing using thermofax screens made specifically for the quilt is a new technique for me, but I plan to incorporate it into my future work.
https://elinorsigler.comMonika Sebert is exhibiting in both galleries
Spalt (Gap)
Monika Sebert
Germany
Quilting
Cotton, Procion MX
dye, pe chiffon, Lutradur,
cotton and silk
threads, batting, acrylic paint
this work can be seen in Baarle Nassau
Something has detached or suddenly become separated. Is something new emerging here or is it the incompatibility of two polarising units? Like a rift between two continents, everything is in a continuous state of change. Tensions create cracks, not only on the surface of the earth, but within us, with us and between us
In my
works, I try to transform the exploration of mechanically or rhythmically
created traces, the creation of which takes a long time, into a textile
language.
Embedded in erosion processes, microcosm and macrocosm are constantly
exposed to erosion, decay, ageing and metamorphosis. These processes form
reliefs with a unique history.
The palpability of the surfaces created in this way can be seen in the
plastic shaping of special surface designs in the "whole cloth" works
and in the distinctive, biomorphic 3D objects.
Layer by layer, thread by thread, a new interpretation of the original
idea is created. The reduction to playing with black and white contrasts is for
me the direct access to an emotional form of expression.
Through the artistic process I try to better understand my thoughts and
feelings and hope that the viewer finds access to this personal journey.
Something has detached or suddenly became separated.
these two objects can be seen in Leiden
Monia Haeussler:
her work can be seen in Leiden, at Galerie Zone
Steps
Monika Haeussler-Goeschl
Germany
Inspired by the poem ‘Steps’ by Hermann Hesse.
‘…the world of spirit wishes not to fetter us
but raise us higher, step by step.‘
I used digital machine
knitting combined with hand dyeing with a natural dye (weld) to combine old and
new techniques.
After I worked many years in the textile industry as a garment technician and patter cutter I had the opportunity to study textiles in the UK. During my BA study I specialized in knit and continued for my MA at the Royal College of Art, London, which I finished in 2017.
Since then
and back in Germany I am working as a textile artist.
Artist statement
Generally I
enjoy working with different techniques, which I try to apply in a new way. For
this exhibition I chose knitted objects, which are knitted by hand, machine and
digital knitting machine.
I like to
combine traditional with temporary techniques to create a modern design. I love
the making process, and often I am inspired by materials and their capacities.
My work
tends to go 3 dimensional and I try to achieve volume and shape through
technique and material.
Working and
creating with my hands is important for me. And I believe that making something
with our hands is generally important for humanity, especially in our digital
times.
detail of her work.
Beatriz Schaaf-Giesser:
her work is represented in Baarle Nassau at High Five Art
Childhood
Beatriz Schaaf
Germany
Felt, digitally
designed and printed fabric
https://beatriz-schaaf-giesser.de
Felt is a handicraft
that has been made over the last centuries in many countries and in a great
variety. As a professional and teacher of this technique I develop
possibilities of two and three dimensional felt objects. As a textile designer
I aim to work with the surface design either on fabric or on the felt itself.
Many years ago I
began to combine the skills I had developed in both areas and the process of
felting was just perfect. Layers of prefelted wool combined with digitally
designed and printed fabric will completely merge together after the felting
process. This gave me the possibility of bringing strong photographic and
graphic designs on to my feltwork. The themes: childhood, my parents’
emigration to Uruguay after the second world war, settle down and identity.
The old technique
of felting combined with either modern printing or photographical exposures
makes it possible that my artwork becomes a bearer of memories.
Hannie van Weel -
her work can be seen in Baarle Nassau (High Five Art)
https://www.highfiveart.nl
https://www.hannievanweel.com
Ins blaue hinein
(Into the blue)
Hannie van Weel
the Netherlands
Marbled on
silk, hand-embroidered
Silk, linen,
marbling dye, various threads
Four
landscape views, shot from a drone of several European countries were taken as
a starting point. Along the same longitude line with human activity on the
ground showing a fugitive shelter, a
helicopter platform, a parking lot in the middle of nowhere, and an imaginary border.
Together
they form series of 8 art works in four groups of two. Each group containing
one big work and one small work highlighting a detail of human activity.
Imaginary
landscapes were created by means of the marble technique.
The
human interventions in the landscape are much more emphatically embroidered and
show a number of themes that play a role in Europe through and across all
borders.
Mirjam Pet is represented in both galleries (Leiden and Baarle Nassau)
Bogolan Head
Mirjam Pet
Netherlands
Embroidery,
stitching
Cotton Bogolan mud
cloth, fiber fill, metal frame
This work can be seen in Baarle Nassau
This Head is
part of a series resulting from researching the construction of a head,
inspired by anatomic drawing lessons. Is it possible to convert 2-D portrait on
paper to a 3-D shape in textiles, in this case using Bogolan mud cloth?
Society is changing fast. The digital world is getting more and more powerful; how are we dealing with this, how are we adapting?
My present work
focuses on transitional situations. We have to cross borders, or we might try
to avoid them. What do we leave, what are we taking with us? Transgression,
changes, time passing: how do we perceive all this? How do we deal with change?
Can we understand it?
How can we keep ourselves, the world and thus the
future healthy and safe?
I like to use
discarded fabric, like old embroideries, scraps and other ‘useless’ materials to visualise my
reflections. Usually taken for granted, it has probably more than any other
material the enormous capacity to evoke recognition and resonate in us.
By up-cycling
old wall hangings into new work I comment on our wasteful society. Playing with
photos and short videos I try to discover more about ‘time’
and what it means to us.
Painted Head
Mirjam Pet
Netherlands
This can be seen in Leiden
Galerie Zone
https://www.galeriezone.nl
https://www.highfiveart.nl
https://www.mirjampetjacobs.nl
Michele Landel, American born - living in France
is showing in Baarle Nassau and in Leiden, so in both galleries.
By herself, talking
From the series For there she was
Michele Landel
France
this work can be seen in Baarle Nassau
Digital
photography, fabric, embroidery, collage, natural dye
Photography,
fabric, thread, paint, avocado pits
Michele is an American artist. Michele lives and works in Sèvres, France and out of her art studio in the Paris 9th arrondissement. She holds degrees in Fine Arts and Art History. Her work has been exhibited in France, Italy, Poland.
She creates intensely textured and airy collages using burned, quilted, and embroidered photographs and paper to explore the themes of exposure, absence, and memory. She manually manipulates digital photographs to highlight the way images hide and filter the truth. Then sews layers of paper together to create bandages and veils and to transform images into fragile maps.
The title of this series, For There She Was, comes from the last line of Virginia Woolf ‘s Mrs Dalloway and includes over a hundred embroidered, burned, dyed and collaged images. The series emerged from thinking about all the women who were speaking out about their pain and trauma and refusing to go away.
To summarise this moment, the
artist brewed natural dyes in her kitchen using organic materials and then dyed
small scraps of fabric (a cloth baby diaper, an antique tablecloth, a stained
tea towel…) to
represent the physicality of womanhood and gender roles. She matched the
fabrics with small paper dolls that are actually digitally edited photographs
from clothing catalogues to show the commodification and manipulation of women’s stories. To
deliberately erase the women, she burned holes in the photographs and
repeatedly stitched over their faces and bodies. Yet the women are still there.
Their presence is even stronger.
https://www.galeriezone.nl
https://www.highfiveart.nl
https://michelelandel.com
Cherilyn Martin (English born, residing in the Netherlands)
has work at both galleries
Silent dialogue
Cherilyn Martin
Netherlands
hand embroidery
Linen, puff pasta,
transfer foils
This work can be seen in Baarle Nassau
For many years urban landscape, classical architecture and ancient ruins have been an inexhaustible source of inspiration. A fascination with the juxtaposition of buildings and ruins in landscape, the superimposition of form, has led to the type of monumental layering found in many of my pieces.
Layering
is fundamental to my work. Using this basic concept, materials are layered and
panels constructed which are, in turn, layered to give depth of composition.
Exploiting
the tactility of the various media I use, to interpret surfaces ravaged by time
and the elements, is at the foundation of my working process. Developing
surfaces in which concepts of time, experience and emotion are embodied.
Underlying
themes in my work deal with bereavement, loss and commemoration. “It’s the
stones that speak”, their weathered surfaces bearing intriguing marks left by
man, that offer a wealth of inspiration for my own mark-making in fabric,
paper, paint and stitch.
Cherilyn Martin
Netherlands
hand embroidery
linnen, rust, transfer foils
https://www.cherilynmartin.com
https://www.highfiveart.nl
https://www.galeriezone.nl
Helda Klouth, not only SDA member but also co-owner of High Five Art shows her work at the gallery in Baarle Nassau https://www.highfiveart.nl
Migrants: always, everywhere
Helda Klouth
Netherlands
Shibori on silk, paper, encaustic wax, glass
I made this work of
art realizing that we too are part of a stream of people who have left their
native soil and their family since time immemorial, to settle elsewhere.
Often because it had
become unlivable at home. often out of necessity and involuntary. Sometimes out
of probability and impatience because the adventure of the great unknown
beckons. It is in the nature of humans
to reach beyond the boundaries of existence.
One steps into
wrecked boats on their way to foreign shores towards an uncertain future
where one must
conquer one’s right to exist.
Yet they dare to follow in the millions of footsteps of their predecessors.
My main purpose is
making art mainly in textiles
Started as a weaver/ dyer, my focus changed during the years onto woodblock -and screen printing and reservation techniques like shibori and batik.
Now I work with
fabrics, which I process with various techniques such as screen and
block printing,
monotypes, collages and bindings and coverings in several ways like shibori
and encaustic wax
and marbling.
These fabrics and my digitally edited photos are the basis of my palette..
My inspiration
sources I find in nature, landscape and reflections in water and weather.
In general I am
fascinated by structures.
Of course there are
some subjects in my art which I have used repeatedly. Most it is about
reflections and structures, but some are also
concerning world issues like war,
disasters and setbacks, use and abuse of human and natural resources.
Stewart Kelly's work can be seen in Baarle Nassau at High Five Art
Face to face
Stewart Kelly
Great Britain
Embroidered, drawn
Ink, paper, thread
My current practice is inspired by observing
and drawing the human form. I use the drawings as a basis to construct layered
surfaces which are created using a range of media. In particular, I am
interested in exploring the effects of layering drawing and stitching. The
accumulation of lines results in abstract images which are open to
interpretation from the viewer.
Initially, I make observational drawings
in response to the figure. I work intuitively to create expressive drawings
which aim to capture the subtleties found in
both gesture and movement. I
record my responses spontaneously, focusing almost entirely on the subject,
unaware of the image evolving on the paper. As the lines accumulate and
overlap, the image becomes abstracted. The figures become less recognizable
almost camouflaged amongst the multitude of lines. Each mark is unique and
documents a moment in time. My observations and responses are distilled into
line.
I then transform and develop the
drawings by cutting, re-assembling and stitching. Existing drawn lines are
emphasized with stitch whilst additional lines derived from separate studies
are imposed over the surface. The diversity of drawn and stitched marks create
unique textures and quality of lines throughout the work. The drawn line is
immediate whilst stitching is slower and more reflective. Occasionally figures
are identifiable, whilst in contrast a line may represent a gesture or brief
moment in time. The layers of drawn and stitched lines record an accumulation
of observations, mapping encounters and experiences. The pieces are complex and
intense in their construction. Constructing them is often physical and
enduring. They become the embodiment of the artist and a record of the time
taken to produce them.
The work explores the effects of
overlaying multiple images. The viewer is required to interpret the image
creating a dialogue between the physical and unconscious body. The layers of
different materials and processes create images which seek to achieve a
deliberate ambiguity giving rise to the many possibilities of interpretation.
The viewer is encouraged to consider where one process ends and another begins.
The work demands the viewer’s time to understand and interpret the different
lines and shadows and make sense of their meaning based upon their own multi
layered experiences. The quality and range of marks encourages the viewer to reflect
upon the complexities and expressions found within the spectrum of human
nature.
detail Face to Face 10
