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.
Mascha Mioni has work at both galleries, Leiden and Baarle Nassau
Felt, silk, gold embroidered
My spiritual guide, Louise Bourgeois, writes in „The Fabric Works“:
„I do not know the why
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
old clothes wrapped with sari silk waste, cut in strips and sewn
old clothes wrapped with sari silk waste, cut in strips, wooden branch
Her work can be seen in Leiden, at Galerie Zone.
We leave a trace
Dimensions: 20” x 20”
Lace ink painting
Chinese ink and red fibretip on Watercolour paper
for more information https://www.kmtaylor.co.uk
her work is represented in Leiden at Galerie Zone
Batik, collage burned out or cut
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”.
showing her work in Baarle Nassau at High Five Art.
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.com
Monika Sebert is exhibiting in both galleries
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
works, I try to transform the exploration of mechanically or rhythmically
created traces, the creation of which takes a long time, into a textile
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
her work can be seen in Leiden, at Galerie Zone
Inspired by the poem ‘Steps’ by Hermann Hesse.
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.
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.
her work is represented in Baarle Nassau at High Five Art
Felt, digitally designed and printed fabric
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)
Ins blaue hinein
(Into the blue)
Hannie van Weel
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)
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.
This can be seen in Leiden
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
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 , , .
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.
Cherilyn Martin (English born, residing in the Netherlands)
has work at both galleries
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.
linnen, rust, transfer foils
this work can be seen in Leiden
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
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
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
Raija Jokinen's artwork can be seen in Baarle Nassau at High Five Art Gallery
She has two pieces:
Fiber, drawing, machine embroidery
Flax, sewing yarn
Fiber, drawing, machine embroidery
Flax, sewing yarn
With my artworks I am searching the interface of spirit and materials: Do we know precisely what is the physical and what is spiritual? Visually my works are often based on body-related details, such as skin, blood vessels and nerve tracks and they intersect with the forms of roots or branches without representing either of them. I am excited in their apparent similarity and infinite variation together with the life-support functions they represent and how these visual allegories can be found in almost all living organisms.
My works of art are like cut offs and transparent structure allows strong shadows on the wall. My working method can be compared to painting, drawing and sculpturing, but the paint or clay is the fiber, flax, that is normally used e.g. as a base material for oil paintings. In addition, I use machine stitching to form “drawn” lines. My methods and materials are also related to handmade paper techniques. The technique I have developed could therefore be located in the meeting point of the techniques in painting, sculpturing, paper making and textiles. Although my works look fragile they are very durable and being light- weighted, they can easily be hanged and displayed without frames.