The project -visual-illusion-confusion- is a collaboration between the artists Ida Pettersson Preutz and Matilda Dominique. In conversations and questions between Ida and Matilda, between threads and fabric pieces, contrasts and patterns, processes are intertwined and form a unit. The common denominator and point of departure is the shadow weave, which they explore together and each in their own way to create new rooms with optical illusions.
In the project, they are examining the potential of shadow fabrics to go from small-scale designs in the home to monumental and architectural. With their work they want to shape the traditional weaving pattern in different scales, techniques and materials in relation to room and body. The visual expression together with the structure and structure of the pattern become important building blocks.
Shadow weave is a technique where color effects create woven, optical patterns. With stripes in different directions, in contrast between light and dark threads, some of the fabric appears to float on top of the other. Geometry and illusion exist in a clear symbiosis. Fabrics woven in shadow weave are usually small-scale and are often used as, for example, tablecloths and other objects connected to the home’s sphere. When the pattern is enlarged, it gets a different relationship to the body, becomes more physical and the feeling of going into another world becomes tangible.
The interest in shadow weave is nothing new for either Ida or Matilda. In their respective works of art, they have in different ways been inspired by or worked in similar traditions. Ida has previously worked with optical illusions similar to those found in the shade weave’s binding pattern and based on it created new works in patchwork. Matilda has developed a working method in weaving where color effects and three-dimensional patterns play an important role. Another common denominator is that their different crafting techniques control their work process.
In the joint project they ask questions about how the pattern principles of the shade can be transformed and interpreted in new rooms? What happens when the pattern of technology is adopted by a completely different craft?
IPP: Artist and textile designer
MD: Artist, Weaver, Teacher
WHAT DOES FIBER MEAN TO YOU?
IPP: Besides being the main medium for my artistic expression I would say comfort and elegance.
MD: For me fiber means material, knowledge, ancient crafts… It’s the raw material for everything that I work with, and also for so much of the stuff we humans have around us. It’s diverse – there’s not just one type of fibre, but almost an infinite number – both natural and human-made.
WHAT IS YOUR FAVOURITE FIBER OR TEXTILE TECHNIQUE?
IPP: Favourite fiber – silk, favourite technique – patchwork.
MD: Weaving! It’s the craft and method that I almost always use to express myself and to explore the world around me.
WHAT IS YOUR MOST VIVID TEXTILE MEMORY?
IPP: Learning textile printing and by that be the master of every step of my process. Also it is the most fun thing I have ever been taught.
MD: My grandmother made hand-woven blankets, towels, cushions and tapestries. For me those objects are both memories of her but also a reminder of the ingenuity that is embedded in a woven textile.
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With support from the Swedish Arts Grants Committee