Artist Statement
I have an incessant interest in scientific and technological advances as well as in the history of representation of this knowledge trough times and in different cultures. Much of my personal work is done in response to these and often led by a deep desire to bring into light elements that are hidden or ignored in our day-to day lives.
I deeply enjoy meticulous making processes. My first encounter with these was through bead weaving, crochet and embroidery that I learned as a little girl. The idea that I could take a long thread or a handful of beads, and transform these into a solid object or a recognizable image appealed to me immensely. Later I came across the deep mysteries of felted wool and it’s many variations from millinery to needle and nuno-felting. And ever since, I have been captivated and surprised by the seeming magic of individuals filaments coming together and creating a material that can have limitless form, has memory and in case of nono-felt has exquisitely lush texture. About two years ago, after investigating various ways metal can acquire three-dimensional from, I have finally discovered the joy of chasing and repoussé. Experiencing clay-like malleability of seemingly solid metal that responds to touch by generating almost any form in minute detail was extraordinary. And judging by the historical and cultural heritage of this technique, the potential of the tactile and narrative expression of chased metal is endless.
The main trends that unite these techniques for me are their ability to create relief forms, their historical legacy and their compatibility with each other. But I am becoming increasingly interested about how relevant these techniques would be in the world of upcoming technical revolution of personalised production. These contemplations recently led me to investigating virtual sculpting, kinetics and programmable electronic textiles. Through my new work, I am exploring what could replace the legacy of the traditional techniques that I love if they become extinct or what could compliment them and help them survive and flourish for another millennium.
I deeply enjoy meticulous making processes. My first encounter with these was through bead weaving, crochet and embroidery that I learned as a little girl. The idea that I could take a long thread or a handful of beads, and transform these into a solid object or a recognizable image appealed to me immensely. Later I came across the deep mysteries of felted wool and it’s many variations from millinery to needle and nuno-felting. And ever since, I have been captivated and surprised by the seeming magic of individuals filaments coming together and creating a material that can have limitless form, has memory and in case of nono-felt has exquisitely lush texture. About two years ago, after investigating various ways metal can acquire three-dimensional from, I have finally discovered the joy of chasing and repoussé. Experiencing clay-like malleability of seemingly solid metal that responds to touch by generating almost any form in minute detail was extraordinary. And judging by the historical and cultural heritage of this technique, the potential of the tactile and narrative expression of chased metal is endless.
The main trends that unite these techniques for me are their ability to create relief forms, their historical legacy and their compatibility with each other. But I am becoming increasingly interested about how relevant these techniques would be in the world of upcoming technical revolution of personalised production. These contemplations recently led me to investigating virtual sculpting, kinetics and programmable electronic textiles. Through my new work, I am exploring what could replace the legacy of the traditional techniques that I love if they become extinct or what could compliment them and help them survive and flourish for another millennium.
Exhibitions 2011 "Make" as part of London Jewellery Week, London UK
Group Jewellery Show 2010 Wardown Park Museum, Luton UK WCFL Design Award 2010 for Craftsmanship 2005 Nowhere Fête, Zaragoza Spain Clock tower installation and public benches Awards 2010 The Worshipful Company of Feltmakers
Design Award for Craftsmanship Bibliography “The Feltmakers’ Design Award 2010“, The Feltmaker, No. 34,
January 2011, p. 6 Memberships |
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