The cross-stitch is fundamental to the history of the art of embroidery. The stitch itself has a clear structure, where every stitch forms a building block. It works perfectly in our world of pixels and any image can be translated into an embroidery – but what happens if we work around it from the other way? First the embroidered surface, then the design.
Katarina Evans’ embroidery ’No Title’, currently exhibited at Liljevalchs Vårsalongen, is a cross-stitch embroidery erased. Only the structure remains.
Another eight blank sheets have been embroidered by Katarina and eight masters of colour and design, from different artistic disciplines and generations, have been invited to react on it. Does the existing structure give new ideas to an embroidery technique we have preconceived ideas about? Is it possible to ignore the structure and regard the embroidery as any blank piece of paper?
The eight collaborators are textile designer Wanja Djanaieff, stylist and designer Synnöve Mork, architect Karolina Keyzer, designer Katarina Brieditis, textile designer and architect Ulrika Mårtensson, graphic designer Ida Wessel, illustrator Sara Teleman as well as designer and artist Katja Pettersson.
Artisan/designer within the textile field and I hold a Master certificate in art embroidery.
WHAT DOES FIBER MEAN TO YOU?
Fibers are 24/7. From the bed I sleep in to the clothes I wear and what my hands work.
WHAT IS YOUR FAVOURITE FIBER OR TEXTILE TECHNIQUE?
Wool is a fantastic fiber and my preferred tool is the needle but I find it hard to chose one stitch. I like using stitches that can be used in a free manner and I enjoy creating structures the most. I think cross-stitch is very beautiful but it is not my favourite technique to embroider.
WHAT IS YOUR MOST VIVID TEXTILE MEMORY?
I have two very different fiber memories, which both that have stayed vivid. The first on wool, on a felting course, learning by doing about it’s properties and where the memory is not only visual but also tactile and scented. The other on cotton on my first trip to India to learn about the textile industry. I visited a (quite manual) ginning mill and the first impression was how white and soft and beautiful it was. Then people appeared like ghosts in the white dust, sorting and cleaning, and the vision went from clean to dirty.
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