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
