INTELLECTUAL BEAUTY - BOOK - FINAL VERSION

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INTELLECTUAL BEAUTY
Textile Art and Mixed Media
2004-2022
BELEZA INTELECTUAL
Arte Têxtil e Técnica Mista
2004-2022
SAO PAULO, SEPT 1ST, 2022 — FEB 28TH, 2023
MUSEU TÊXTIL
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ALL RIGHTS RESERVED AND PROTECTED BY LAW 9.610 OF 02/19/98. WHOLE OR PARTIAL REPRODUCTION, BY ANY MEANS, WITHOUT
THE PRIOR WRITTEN AUTHORIZATION OF MUSEU TÊXTIL IS PROHIBITED.
TODOS OS DIREITOS RESERVADOS E PROTEGIDOS PELA LEI 9.610 DE 19/02/98. É PROIBIDA A REPRODUÇÃO TOTAL OU PARCIAL, POR
QUAISQUER MEIOS, SEM A AUTORIZAÇÃO PRÉVIA, POR ESCRITO, DO MUSEU TÊXTIL.
PROJECT
MUSEU TÊXTIL
DESIGN EDITOR e CURATORSHIP
RODRIGO FRANZÃO
TRANSLATION
FLÁVIO AUGUSTO DE OLIVEIRA
COPYRIGHT ©
MUSEU TÊXTIL, SÃO PAULO, 2022
EDIÇÃO BRASILEIRA
BOOK COVER
PRETA WOLZAK. People with the yellow ear #20, 2022
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THIS EXHIBITION WAS ORGANIZED IN VIRTUAL LAYOUT, VIEWING ROOM AND 360º VIRTUAL TOUR, WITH FREE CLASSIFICATION AND
FREE ENTRANCE PROVIDED TO MUSEUTEXTIL. THE USE OF THE IMAGES TO COMPOSE THE VIRTUAL EXHIBITION, "INTELLECTUAL
BEAUTY" (SEPTEMBER 1, 2022 - FEBRUARY 28, 2023) HAS BEEN AUTHORIZED BY THE RESPECTIVE ARTISTS TO THE TEXTILE MUSEUM
NO IMAGE SHOULD BE USED OR REPRODUCED FROM THIS BOOK FOR COMMERCIAL PURPOSES WITHOUT THE AUTHORIZATION OF
THE ARTISTS AND MUSEU TÊXTIL BOOK EDITED FOR THE MUSEU TÊXTIL BY RODRIGO FRANZÃO.
ESTA EXPOSIÇÃO FOI ORGANIZADA EM FORMATO VIRTUAL, VIEWING ROOM E 360º VIRTUAL TOUR, COM CLASSIFICAÇÃO LIVRE E
ENTRADA GRATUITA PROMOVIDA PELO MUSEU TÊXTIL. O USO DAS IMAGENS PARA COMPOR A EXPOSIÇÃO VIRTUAL, "BELEZA
INTELECTUAL" (1 DE SETEMBRO DE 2022 - 28 DE FEVEREIRO DE 2023) FOI AUTORIZADO PELOS RESPECTIVOS ARTISTAS AO MUSEU
TÊXTIL. NENHUMA IMAGEM DEVE SER UTILIZADA OU REPRODUZIDA DESTE LIVRO PARA FINS COMERCIAIS SEM A AUTORIZAÇÃO DOS
ARTISTAS E DO MUSEU TÊXTIL LIVRO EDITADO PARA O MUSEU TÊXTIL POR RODRIGO FRANZÃO.
ISBN: 978-65-998488-0-3
Printed by: Blurb, Inc. San Francisco, California, United States

Established in 2020, the Museu Têxtil aims to promote cultural and artistic exchange between Brazil and
other nations, to show primarly the universality of concepts and expressions of art present in research, techniques and
styles that are presented by Textile Artists, Mixed Techniques and Dimensional Arts.
Our focus is to promote the work of artists who use textile strategies as support in their creations. In
addition, our intention is to foster an environment of research, production and exhibition of this cultural manifestation
and form of artistic expression.
Since art is a marriage between the real and the utopian, the Museu Têxtil seeks to exhibit, through the
emphatic self-referential rhetoric of artists from different cultures and background, the foundations that structure their
artistic research by investigating the representative meaning by which the artist uses the senses and refers to the
senses of alluding a tangible physical world to which we are established.
Instituído em 2020, o Museu Têxtil, se propõe a promover o intercâmbio cultural e artístico entre o Brasil e
outros países, para mostrar acima de tudo a universalidade dos conceitos e expressões de arte presentes nas
pesquisas, técnicas e estilos que são apresentados por Artistas Têxteis, de Técnicas Mistas e Artes Dimensionais.
Nossa proposta é divulgar o trabalho de artistas que utilizam estratégias têxteis como suporte em suas
criações. Além disso, pretendemos fomentar um ambiente de pesquisa, produção e exposição dessa manifestação
cultural e forma de expressão artística.
Sendo a arte um casamento entre o real e o utópico, o Museu Têxtil intenciona expor, por meio da enfática
retórica autorreferencial de artistas de diferentes culturas, os alicerces que estruturam suas pesquisas artísticas,
investigando o significado representacional pelo qual o artista usa os sentidos e fala aos sentidos para aludir um
mundo físico tangível a qual nos estabelecemos.
Rodrigo Franzão
Founder
Flávio Dolce
Executive Director
Museu Têxtil
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INDEX
CURATORIAL STATEMENT | Texto Curatorial
09
Lia Porto
62
ARTISTS | Artistas
15
Louise Barrington
64
Adeline Contreras
16
Mariana Porto
66
Ami Park
18
Matthew Downham
68
Ânia Pais
20
Matthias de Vogel
70
April J. Wright
22
Miriam Medrez
72
Ariadna Pastorini
24
Mónica Leitão Mota
74
Armelle Blary
26
Muriel Maire
76
Cathy Jacobs
28
Mustafa Boga
78
Clara Fina Frisk
30
Mylene F. Rizzo
80
Claude COMO
Courtney Cox
Cristina Rodo
Ellen Dynebrink
Erick Wolfmeyer
Fabian Matz
Franziska Warzog
Fuzzy Mall
Gerda Schimmel
Jeannet Leendertse
Jessica Costa
Jonas Liveröd
Julian Campos
Karola Pezarro
Katherine Hunt
32
34
36
38
40
42
44
46
48
50
52
54
56
58
60
Natsuko Hattori
Preta Wolzak
Rachael Wellisch
Renato Dib
Rima Day
Séverine Gallardo
Star Trauth
Susie Koren
Vanessa Freitag
Verónica Ryan
EXHIBITION | Exibição
ARTISTS BIOGRAPHY | Biografia dos Artistas
ARTISTS INDEX | índice de Artistas
PHOTOGRAPHIC CREDITS | Créditos Fotográficos
BIBLIOGRAPHY | Bibliografia
82
84
86
88
90
92
94
96
98
100
103
115
141
145
149
Índice
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CURATORIAL STATEMENT
Texto Curatorial
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Plato elucidates that the concept of beauty is related to the perception of perfection, of what is concluded
to be true. Beauty would be the prism of its own existence. Contemplating it would only be possible when one
understood its essence. A methodology that gives the individual the opportunity to know the true harmony of the
Cosmos. Conquering such knowledge would happen when the beholder, by means of reason, surrenders to his or her
own philosophical and cognitive evolution. By achieving this exorbitant virtue, the individual will be detached from the
illusions and sensory appearances of the world, thus having the opportunity to rediscover himself and reveal his true
core. An almost divine milestone, when one puts into context the evolutionary process of the human being, which
transcends physical form and empirical investigation.
The exhibition, "Intellectual Beauty", leads us to reflect on this process of evolution and transcendence. A
path traveled individually by each admirer of art. A fascinating trajectory, which leads us receptively to the clairvoyance
that the concept of beauty is intimately linked to transparency in the process in which the individual manipulates and
appropriates the materiality of the world in order to flourish his evolution. Appropriation apparently frequent in the world
of ideas; affluence of memory, affection, experience, and beauty.
Harold Osborne, Art Critic and one of the founders of the British Aesthetic Society in 1960, advises us in
his book, "Aesthetics and Art Theory," that the expression and idea of beauty refrains from the flaunting of theoretical
rules in its appreciation. Just as Plato says, when he suggests that Beauty is grounded in its very existence. For
Osborne it is impossible to introduce a contestation of judgment by pre-established rules to any object in the world;
precisely because when arguments and judgments are presented in this way, a logical judgment is made rather than a
judgment about the feeling that blossoms in the individual's encounter with the creative outcome, the art object.
The works presented in this exhibition celebrate the ideas announced by the Greek Philosopher, Plato, and
the Art Critic, Osborne. The first thinker leads us to the supremacy of how we should interpret and, poetically, surrender
to the context that beauty transits, enriching us with wisdom and guiding us so that the beauty of the object is
contemplated in its entirety when we understand its essence - a daily and productive task in impartiality; the second
educates us, recommending that the best form of contemplation is the delight of the intimate feeling in its purest
instance on the idealized matter from originality and conformity without the sobriety and dialectic of judgment.
Note, then, that the forty-three (43) artists, of different nationalities, present in this exhibition have
accomplished their mission and are in agreement with the teachings of the two thinkers, since they have used their
sensitive reality to introduce to the beholder the sensorial perceptions of a reality emancipated from rules and theories,
free and absorbed by inspiration. Proposing to the beholder, to recognize the pure essence of the works presented and
spontaneously offer himself to his own feeling without pre-established judgments, so that he can then reach his true
virtue and transcend his physical form, understanding that the encounter of the individual with the artistic artifact is a
moment of intellectual beauty and pleasure of the senses.
Rodrigo Franzão
Curator
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Platão elucida que o conceito de beleza se relaciona com a percepção de perfeição, daquilo que se
conclui verdade. A beleza seria o prisma de sua própria existência. Contemplá-la somente seria possível quando se
compreende sua essência. Metodologia que oportuniza o indivíduo a conhecer a verdadeira harmonia do Cosmo.
Conquistar tal sapiência se daria no momento em que o observador por meio da razão se entrega a própria evolução
filosófica e cognitiva. Ao alcançar exorbitante virtude, o indivíduo se desprenderá das ilusões e das aparências
sensoriais do mundo, tendo assim, a oportunidade de se redescobrir e de revelar seu verdadeiro âmago. Marco quase
divino, quando se contextualiza o processo evolutivo do ser humano, que transcende a forma física e a investigação
empírica.
A exibição, “Beleza Intelectual”, leva-nos a refletir sobre este processo de evolução e de transcendência.
Caminho percorrido individualmente por cada admirador da arte. Trajetória fascinante, que nos escolta amigavelmente
de forma receptiva a clarividência de que o conceito de beleza está, intimamente, ligado à transparência no processo
em que o indivíduo manipula e se apropria da materialidade do mundo para desabrochar a sua evolução. Apropriação,
esta, que aparentemente se frequenta no mundo das ideias; afluência de memória, afeto, experiência e beleza.
Harold Osborne, crítico de arte e um dos fundadores da British Society of Aesthetics em 1960, aconselhanos
em seu livro, “Estética e Teoria da Arte”, que a expressão e ideia de beleza se abstenha de ostentação das regras
teóricas em sua apreciação. Assim como discursa Platão, quando este sugere que a Beleza está fundamentada em
sua própria existência. Para Osborne é impossível apresentar contestação de julgo por regras pré-estabelecidas a
qualquer objeto do mundo; justamente, porque, quando argumentos e julgamentos são apresentados desta forma, fazse
um juízo lógico e não um juízo sobre o sentimento que floresce no encontro do indivíduo com o fruto criativo, o
objeto de arte.
As obras, apresentadas nesta exibição, festejam as ideias anunciadas pelo filósofo grego, Platão, e pelo
crítico de arte, Osborne. O primeiro nos conduz a supremacia de como deveríamos interpretar e, poeticamente, nos
entregar ao contexto que a beleza transita, enriquecendo-nos com sabedoria e norteando-nos de que a beleza do
objeto será contemplada em sua totalidade quando compreendemos sua essência – tarefa diária e frutífera em
imparcialidade; já o segundo nos educa, preconizando que a melhor forma de contemplação é o deleite do íntimo
sentimento em sua mais pura instância sobre a matéria idealizada a partir de originalidade e conformidade sem a
sobriedade e a dialética do juízo.
Percebe-se, então, que os 43 (quarenta e três) artistas, de diversas nacionalidades, presentes nesta
exposição perfizeram sua missão e vão ao encontro dos ensinamentos dos dois pensadores, visto que, utilizaram-se
da sua realidade sensível para introduzir ao observador as percepções sensoriais de uma realidade emancipada de
regras e teorias, liberta e absorvida de inspiração. Propondo para o espectador, que este reconheça a pura essência
das obras apresentadas e se ofereça espontaneamente ao seu próprio sentimento sem julgamentos pré-estabelecidos,
para que então possa alcançar a sua verdadeira virtude e transcender sua forma física, compreendendo que o
encontro do indivíduo com o artefato artístico é um momento de beleza intelectual e de prazer dos sentidos.
Rodrigo Franzão
Curador
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ARTISTS
Artistas
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Adeline Contreras
French
Shelters, 2021
Jute, plants, ceramic
86.61 x 59.05 x 23.62 in
Juta, plantas e cerâmica
220 x 150 x 60 cm
Shelters, 2015
Cotton, rope, ceramic
78.74 x 102.36 x 31.49 in
Algodão, corda e cerâmica
200 x 260 x 80 cm
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Shelters, 2019
Cotton, rope, ceramic
78.74 x 102.36 x 23.62 in
Algodão, corda e cerâmica
200 x 260 x 60 cm
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Ami Park
Korean
Lips, 2020
Yarn, cotton rope, fabric, and glue on cotton canvas
11 x 14 x 1.5 in
Fio, corda de algodão, tecido e cola sobre tela de algodão
28 x 35.5 x 3.8 cm
Untitled, 2021
Yarn, cotton rope, fabric, and glue on cotton canvas
36 x 36 x 1.5 in
Fio, corda de algodão, tecido e cola sobre tela de algodão
91.4 x 91.4 x 3.8 cm
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We all have a thirst for connection, 2021
Yarn, cotton rope, fabric, and glue on cotton canvas
36 x 36 x 1.5 in
Fio, corda de algodão, tecido e cola sobre tela de algodão
91.4 x 91.4 x 3.8 cm
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Ânia Pais
Portuguese
I was, I am, but I won't be, 2020
Fabric
137.79 x 236.22 x 78.74 in
Tecido
350 x 600 x 200 cm
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Bond, 2021
Branches and tissue
118.11 x 98.42 x 98.42 in
Galhos e tecido
300 x 250 x 250 cm
21___

April J. Wright
American
Tattered and Torn, 2020
Shredded clothing found from the inside of a
punching, bag, cotton thread, shower curtain,
wood, and nails, sewn fibers
70 x 28 x 8.5 in
Roupas desfiadas encontradas no interior de um
perfurador, bolsa, fio de algodão, cortina de
chuveiro, madeira e pregos, fibras costuradas
177.8 x 71.12 x 21.59 cm
Barrier Cloth, 2021
Shredded denim found inside of a punching bag, cotton
thread, and coat hooks, sewn fibers
98 x 85 x 5 in
Jeans desfiado encontrado dentro de um saco de
pancadas, algodão linha e ganchos para casacos,
fibras costuradas
248.92 x 215.9 x 12.7 cm
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Zip it, 2021
Punching bag, 375 zippers, thread, metal chain,
and adhesive, fiber sculpture
168 x 12 x 12 in
Saco de pancadas, 375 zíperes, linha, corrente
de metal e adesivo, escultura em fibra
426.72 x 30.48 x 30.48 cm
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Ariadna Pastorini
Uruguayan
Textile Impulse, 2022
Videoperformance
Time: 17"
Tempo: 17"
Textile Dance, 2021
Videoperformance
Time: 22"
Tempo: 22"
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Textile Movements, 2022
Videoperformance
Time: 1' 06"
Tempo: 1' 06"
25___

Armelle Blary
French
The old Womb (La vieille Outre), 2019
Soft sculpture
12.59 x 26.77 x 22.04 in
Escultura macia
32 x 68 x 56 cm
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Daphne (Daphné), 2004
Soft sculpture
35.43 x 15.74 x 21.65 in
Escultura macia
90 x 40 x 55 cm
27___

Cathy Jacobs
American
Midwestern Spring, 2019
Handwoven linen and stainless steel hangers
62 x 18 x 7 inches
Linho tecido à mão e cabides de aço inoxidável
157 x 46 x 18 cm
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Aperture, 2021
Coated mesh and
stainless steel hangers
96 x 56 x 12 inches
Malha revestida e
cabides de aço
inoxidável
244 x 142 x 30 cm
29___

Clara Fina Frisk
Swedish
Ikat/Höfta (hip), 2019
Ikat weave, hand dyed cotton + linen
9.84 x 39.37 in
Tecido Ikat, algodão tingido à mão + linho
25 x 100 cm
Rymmer kroppen själen? (Body: soul container), 2019
Wool weave
47.24 x 27.56 in
Lã tecida
120 x 70 cm
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Stillastormande, 2020
Starched silk
47.24 x 27.56 in
Seda engomada
300 x 300 cm
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Claude COMO
French
Full Mellow Yelow, 2021
Hand tufting wool
86.61 x 157.48 in
Tufagem de lã à mão
220 x 400 cm
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Blood & Burning, 2020
Hand tufting wool
141.73 x 94.49 in
Tufagem de lã à mão
360 x 240 cm
33___

Courtney Cox
American
Lie Swatter, 2020
Hand embroidery
17.5 x 5 in
Bordado à mão
44.45 x 12.7 cm
Pandemic Portrait, 2020
Hand embroidery
10 x 8 in
Bordado à mão
25.4 x 20.32 cm
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Dr. Fauci's Burden, 2021
Hand embroidery
10 x 8 in
Bordado à mão
25.4 x 20.32 cm
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Cristina Rodo
Portuguese
Lives, 2020
Wet felted
39.37 x 59.05 in
Feltro molhado
100 x 150 cm
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Facehugger, 2020
Wet felted and needle felted
31.1 x 9.05 in
Feltro úmido e feltro agulhado
79 x 23 cm
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Ellen Dynebrink
Swedish
U & Me, 2019
Patchwork
106.29 x 141.73 in
Patchwork
270 x 360 cm
Bad Excuses, 2021
Patchwork
37.40 x 55.11 in
Patchwork
95 x 140 cm
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Decisions, 2020
Patchwork
53.54 x 52.36 in
Patchwork
136 x 133 cm
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Erick Wolfmeyer
American
May Day (You Are Here), 2019
Quilt (hand-quilted)
90 x 90 in
Quilt (Quilt à mão)
228.6 x 228.6 cm
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Poppy Field, 2017
Quilt (hand-quilted)
88 x 254 in
Quilt (Quilt à mão)
223.52 x 645.16 cm
Means of Living, 2019
Quilt (hand-quilted)
90 x 270 in
Quilt (Quilt à mão)
228.6 x 685.8 cm
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Fabian Matz
Swiss
Body stretching against stretch marks (#006), 2017
Polyamide tights, epoxy resin, boots, gravel
75.19 x 21.25 x 21.65 in
Meias de poliamida, resina epóxi, botas, cascalho
191 x 54 x 55 cm
Unstable body conditions, 2020
Polyamide tights, epoxy resin
301.18 x 9.05 x 76.77 in / 39.76 x 9.84 x 10.23 in / 305.11 x 12.20 x 12.20 in
Meias de poliamida, resina epóxi
76.5 x 23 x 19.5 cm / 101 x 25 x 26 cm / 77.5 x 31 x 31 cm
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Six-pack-bodybuilding, 2017
Polyamide socks, epoxy resin, glass, wood
Dimensions variable
Meias de poliamida, resina epóxi, vidro, madeira
Medidas variadas
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Franziska Warzog
German
Like a living rock, 2021
Textile sculpture, sewed from used fabric materials and embroidered with
wooden beads
21.25 x 17.32 x 7.08 in
Escultura têxtil, costurada com materiais de tecido usados e bordada
com contas de madeira
54 x 44 x 18 cm
That which keeps a secret, 2021
Textile sculpture, sewed from used fabric materials and embroidered with
wooden beads
22.04 x 11.02 x 11.02 in
Escultura têxtil, costurada com materiais de tecido usados e bordada com
contas de madeira
56 x 28 x 28 cm
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What may bloom inside the body, 2021
Textile sculpture, sewed from used fabric materials and embroidered with wooden beads
28.34 x 17.71 x 9.44 in
Escultura têxtil, costurada com materiais de tecido usados e bordada com contas de madeira
72 x 45 x 24 cm
45___

Fuzzy Mall
Canadian (American ex pat)
Fuzzy Mall², 2022
Satin stitched applique and reverse
applique
58 x 49 in
Aplique de cetim costurado e aplique
reverso
147 x 124 cm
Emma Sincerbox², 2021
Satin stitched applique and reverse
applique
77x 110 in
Aplique de cetim costurado e aplique
reverso
195 x 280 cm
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Thom Brow,
2020
Satin
stitched
applique and
reverse
applique
78 x 84 in
Aplique de
cetim
costurado e
aplique
reverso
198 x 213
cm
47___

Gerda Schimmel
Dutch
Lucent compact IV, 2021
Organza, laced
50.8 x 25.4 in
Organza, amarras
20 x 10 cm
Lucent compact, 2021
Organza, gold leaf, laced
13.77 x 11.81 in
Organza, folha de ouro, amarras
35 x 30 cm
___48

Noorderzon, 2021
Organza, gold leaf, laced
9.84 x 9.84 x 1.96 in
Organza, folha de ouro, amarras
25 x 25 x 5 cm
49___

Jeannet Leendertse
Dutch
Two seaweed baskets, 2022
Stitched seaweed (Ascophyllum Nodosum), waxed linen, bees wax
8.26 x 4.72 in / 8.26 x 6.29 in
Algas costuradas (Ascophyllum Nodosum), linho encerado, cera de abelha
21 x 12cm / 21 x 16cm
___50

Drie 1, 2022
Stitched seaweed (Ascophyllum Nodosum), waxed linen, bees wax
20.86 x 12.59 in
Algas costuradas (Ascophyllum Nodosum), linho encerado, cera de abelha
53 x 32 cm
51___

Jéssica Costa
Brazilian
___52

O que me consome Ill, 2021
Hand tufting in wool
47.24 x 48.03 x 7.08 in
Tufagem manual em lã
120 x 122 x 56 cm
53___

Jonas Liveröd
Swedish
The Sea and the Sky are all one fabric, 2018
Bleached and dyed second hand denim on canvas wood frame
72.83 x 55.11 in
Jeans de segunda mão branqueado e tingido sobre canvas, moldura
de madeira
185 x 140 cm
Exhilarated restraint, 2020
Mixed textiles, bomber jackets, chains, rubber foam on wooden base
64.96 x 49.21 x 9.84 in
Tecidos mistos, jaquetas bomber, correntes, espuma de borracha em base
de madeira
165 x 125 x 25 cm
___54

Oracle 1 & 2, 2018
Mixed second-hand textiles and rubber foam on wood base
90.55 x 51.18 in
Têxteis mistos de segunda mão e espuma de borracha sobre base de madeira
230 x 130 cm
55___

Julian Campos
Brazilian
Duplo nº 1, 2018
Fabric embroidery (cotton thread and linen fabric)
32.67 x 14.96 in
Bordado em tecido (linha de algodão e tecido de linho)
83 x 38 cm
___56

Duplo nº 2, 2018
Fabric embroidery (cotton thread and linen fabric)
32.67 x 14.96 in
Bordado em tecido (linha de algodão e tecido de linho)
83 x 38 cm
57___

Karola Pezarro
Dutch
Inner Script, 2022
Embroidery
16.92 x 19.29 in
Bordado
43 x 49 cm
Inner Script, 2021
Embroidery
16.92 x 19.28 in
Bordado
43 x 49 cm
___58

Studio Wall
59___

Katherine Hunt
American
Blue Delphinium nº 1, 2020
Fiber, canvas, graphite, glue
60 x 36 in
Fibra, lona, grafite, cola
152.4 x 91.44 cm
Blue Delphinium nº 2, 2020
Canvas, cotton fiber, graphite, glue, acrylic, indigo powder
60 x 36 in
Tela, fibra de algodão, grafite, cola, acrílico, pó índigo
152.4 x 91.44 cm
___60

Plaza Blanca nº 7, 2021
Cotton fiber, acrylic, graphite, charcoal
36 x 36 in
Fibra de algodão, acrílico, grafite, carvão
91.44 x 91.44 cm
61___

Lia Porto
Argentinian
Ojos brillantes, 2018
Hand embroidery, appliques and wrapping on cotton carpet
39.37 x 53.93 in
Bordados à mão, apliques e envolvimento em tapete de
algodão
100 x 137 cm
Monte, 2018
Hand embroidery, appliques and wrapping on cotton
carpet
55.11 x 66.92 in
Bordados à mão, apliques e envolvimento em
tapete de algodão
140 x 170 cm
___62

Telon, 2020
Acrylic on canvas and trimmings, metal
eyelets
47.24 x 35.43 x 5.90 in
Acrílico sobre tela e guarnições, ilhós de
metal
124 x 90 x 15 cm
63___

Louise Barrington
Scottish
Into the Night - Grimlings (local
Orkney dialect for twilight), 2019
Steel and naturally dyed textiles
74.01 x 59.05 x 16.53 in
Aço e têxteis tingidos naturalmente
188 x 150 x 42 cm
Messages change day by day, 2017
Wood and textiles
95.66 x 59.84 x 13.77 in
Madeira e têxtil
243 x 152 x 35 cm
___64

The everyday, 2017
Wood and textiles
130.31 x 68.11 x 61.41 in
Madeira e têxteis
331 x 173 x 156 cm
65___

Mariana Porto
Brazilian
Exposição Casulo, 2019
Extension expo/cocoon with
performance/poem about tea viaduct,
2020
Time: 1' 53"
Extensão expo/casulo com performance/
poema sobre viaduto do chá, 2020
Tempo: 1' 53"
Exposição A.dor.no, 2020
Linen dyed with pigment, sewn and drawn, mirror
and frame in solid freijó wood
7.87 x 7.87 in (Polyptych with 42 pieces)
Linho tingido com pigmento, costurado e
desenhado, espelho e moldura em madeira maciça
freijó
20 x 20 cm (Políptico com 42 peças)
___66

Embigo - Série Vermelha, 2021
Printing on cotton paper
47.24 x 40.15 in
Impressão sobre papel de algodão
120 x 102 cm
67___

Matthew Downham
British
Untitled (Bear) 2, 2021
Stitched and wrapped threads
20.07 x 14.17 in
Linha costurada e enrolada
51 x 36 cm
Untitled (Bear) 3, 2021
Stitched and wrapped threads
20.07 x 13.38 in
Linha costurada e enrolada
51 x 34 cm
___68

The Blue Man, 2021
Free hand machine embroidery
29.92 x 37 in
Bordado à mão livre
76 x 94 cm
69___

Matthias de Vogel
Fault Lines lab
Dutch
___70

Linescapes 'GRID', 2021
Recycled braided cord
70.87 x 39.37 in
Cabo reciclado trançado
180 x 100 cm
71___

Miriam Medrez
Mexican
From the series Mamalia, 2012-2013
Metal structure with cloth
62.99 x 47.24 x 25.19 in
Armação de metal com tecido
160 x 120 x 64 cm
___72

Resplandor, 2021
Gobelin cloth
106.29 x 59.05 in
Tecido gobelin
270 x 150 cm
73___

Mónica Leitão Mota
Portuguese
Stitched blue lines, 2019
Screen printing and free motion embroidery
15.74 x 15.74 in
Serigrafia e bordado de movimento livre
40 x 40 cm
Blue grid, 2019
Screen printing and free motion
embroidery
19.68 x 15.74 in
Serigrafia e bordado de movimento livre
50 x 40 cm
___74

Small treasures, again, 2019
Screen printing and free motion embroidery
15.74 x 19.68 in
Serigrafia e bordado de movimento livre
40 x 50 cm
75___

Muriel Maire
French
Nº 30. Untitled, 2020
Burlap, cotton, organic fibers, driftwood,
pine thorns
9.44 x 9.05 in
Serapilheira, algodão, fibras orgânicas,
troncos, espinhos de pinheiro
24 x 23 cm
Nº 31 Untitled, 2020
Leaves, organic fibers, driftwood, beads
22.04 x 18.11 in
Folhas, fibras orgânicas, troncos, miçangas
56 x 45 cm
___76

Nº 11 Untitled, 2019
Seed pods, driftwood, organic
fibers hemp thread, recycled
fabric, cotton
22.44 x 15.74in
Sementes de vagem, troncos,
fibras orgânicas, fios de
cânhamo, tecido reciclado,
algodão
57 x 40 cm
77___

Mustafa Boga
Turkish
Wild Flowers, 2021
Free hand machine embroidery
39.37 x 55.11 in
Bordado à mão livre
100 x 140 cm
Aviary, 2021
Free hand machine embroidery
39.37 x 57.08 in
Bordado à mão livre
100 x 145 cm
___78

The Blue Man, 2021
Free hand machine embroidery
29.92 x 37 in
Bordado à mão livre
76 x 94 cm
79___

Mylene F. Rizzo
Brazilian
Amazon world, 2020
Embroidery in photography
11.81 x 15.74 in
Bordado em fotografia
30 x 40 cm
Souk collors, 2020
Embroidery in photography
15.74 x 11.81 in
Bordado em fotografia
40 x 30 cm
___80

Flowers Bale, 2020
Embroidery in photography
15.74 x 11.81 in
Bordado em fotografia
40 x 30 cm
81___

Natsuko Hattori
Japanese
The view, 2013
Fabric, kimono, cotton and rubber mesh
55 x 85 in
Tecido, quimono, algodão e malha de
borracha
139.7 x 215.9 cm
Love, 2014
Fabric, sewn cotton
10 x 10 ft
Tecido, algodão costurado
304.8 x 304.8 cm
___82

Forever, 2014
Fabric, sewn cotton, wire, wood
185 x 92 x 30 in
Tecido, algodão costurado, arame, madeira
469.9 x 233.68 x 76.2 cm
83___

Preta Wolzak
Dutch
People with the yellow ear #24, 2022
Embroidery silk wool and leather
15.74 x 11.81 in
Bordado de lã de seda e couro
40 x 30 cm
Polar Friends, 2022
Embroidery, leather fabrics, cord
sequins, fibers on canvas
118.11 x 49.21 in
Bordado, tecidos de couro, lantejoulas
de cordão, fibras sobre tela
300 x 125 cm
___84

People with the
yellow ear #20,
2022
Leather cotton,
wool & feathers
cord, silk
59.05 x 47.24 in
Couro algodão, lã
e cordão de
penas, seda
150 x 120 cm
85___

Rachael Wellisch
Australian
Recuperated Material Monuments #7, 2019
Indigo dyed, layered, salvaged textiles
11.81 x 13.77 x 9.84 in (6 pieces)
Têxteis tingidos de índigo, em camadas e recuperados
30 x 35 x 25 cm (6 peças)
NB: pp. 134
Tomes #21,2021
Hand-made paper, from indigo dyed, salvaged textile waste
345.44 x 345.44 x 25.59 in
Papel feito à mão, a partir de resíduos têxteis recuperados tingidos com
índigo
136 x 136 x 65 cm
NB: pp. 134
___86

Softest Hard #8, 2022
Hand-made paper, from indigo dyed, salvaged textile waste – cotton jersey t-shirt offcuts
53.54 x 53.54 x 19.68 in
Papel feito à mão, a partir de resíduos têxteis tingidos de índigo, recuperados – retalhos de camiseta de jersey de
algodão
136 x 136 x 50 cm
NB: pp. 134
87___

Renato Dib
Brazilian
Projeto Linhas da Mão: Experiência nº
19, 2016
Dyed cotton gloves and embroidered
9.05 x 12.59 in
Luvas de algodão tingidas e bordadas
23 x 32 cm
Projeto Linhas da Mão: Experiência nº
23, 2016
Dyed cotton gloves and embroidered
9.05 x 12.59 in
Luvas de algodão tingidas e bordadas
23 x 32 cm
___88

Projeto Linhas da Mão: Experiência nº 16, 2016
Dyed cotton gloves and embroidered
9.05 x 12.59 in
Luvas de algodão tingidas e bordadas
23 x 32 cm
89___

Rima Day
American/Japanese
Anne-Marie, 2020
Sewing
60 x 40 x 20 in
Costura
152.4 x 101.6 x 50.8 cm
Jeanne, 2019
Sewing
60 x 30 x 18 in
Costura
152.4 x 76.2 x 45.72 cm
___90

Endless Desire, 2019
Sewing
45 x 14 x 15 in
Costura
114.3 x 35.56 x 38.1 cm
91___

Séverine Gallardo
French
Le jardin, 2021
Embroidery
23.22 x 9.05 in
Bordado
59 cm x 23 cm
La ville, 2021
Embroidery
18.50 x 9.05 in
Bordado
47 x 23 cm
___92

Les dieux, 2021
Embroidery
21.25 cm x 11.81 cm
Bordado
54 cm x 30 cm
93___

Star Trauth
American
Momentary, 2022
Hand and heat manipulated fiber
made from paper and plastic waste
20 x 35 x 2 in
Fibra manipulada à mão e a calor
feita de resíduos de papel e plástico
50.8 x 88.9 x 5.08 cm
Cocooning Psychological Landscape (Triptych), 2021
Hand and heat manipulated fiber made from paper and
plastic waste
30 x 10 x 10 in
Fibra manipulada à mão e a calor feita de resíduos de
papel e plástico
83.82 x 25.4 x 25.4
___94

Emerging, 2022
Hand and heat manipulated fiber made from paper and plastic waste
24 Ø
Fibra manipulada à mão e a calor feita de resíduos de papel e plástico
60.96 Ø
95___

Susie Koren
British
Ice Wall, 2021
Natural earth pigment in soya milk binder and hand stitch
15.74 x 19.68 in
Pigmento natural da terra em aglutinante de leite de soja e costura manual
40 x 50 cm
Blue Arctic Dawn, 2021
Natural earth pigment in soya milk binder hand stitch
25.19 x 25.19 in
Pigmento natural da terra em aglutinante de leite de soja ponto de
mão
64 x 64 cm
___96

Glacier Meltwater, 2021
Natural earth pigment in soya milk binder hand stitch
25.19 x 25.19 in
Pigmento natural da terra em ponto manual de pasta de leite de soja
64 x 64 cm
97___

Vanessa Freitag
Brazilian
Cripsis striped, 2021
Soft sculpture with recycling clothes
47.24 x 33.46 x 11.02 in
Escultura macia com roupas recicladas
120 x 85 x 28 cm
Adaptación para Cripsis, 2021
Triptych - photo performance
11.81 x 15.74 x 0.78 in
Tríptico - performance fotográfica
30 x 40 x 2 cm
___98

Creatures from
Topiarius, 2021
Soft sculpture with
recycling clothes
43.30 x 31.49 x
11.02 in
Escultura macia
com roupas
recicladas
110 x 80 x 28 cm
99___

Verónica Ryan
Argentinian
Jardín de flores subterráneas, 2020
Oil on cotton canvas, rust, pigments, archaeological process,
hand-sewn with silk threads
51.18 x 55.11 in
Óleo sobre tela de algodão, ferrugem, pigmentos, processo
arqueológico, costurado à mão com fios de seda
130 x 140 cm
Regesta, 2018
Textile serigraphy, ash, archaeological process, hand sewn with silk threads
59.05 x 55.11 in
Serigrafia têxtil, freixo, processo arqueológico, costurado à mão com fios de
seda
150 x 140 cm
___100

Reflexus, 2019
Textile screen printing, dyeing, rust, ash,
archaeological process, hand-sewn with silk
threads
53.14 x 77.55 in
Serigrafia têxtil, tingimento, ferrugem, cinza,
processo arqueológico, costurada à mão
com fios de seda
135 x 197 cm
101___

___102

EXHIBITION
Exibição
103___

___104

105___

___106

107___

___108

109___

___110

111___

___112

113___

___114

ARTISTS BIOGRAPHY
Biografia dos Artistas
115___

___116

The biographical information was written by the artists themselves, the original wording was kept in order to avoid supposed mistakes.
As informações biográficas foram redigidas pelos próprios artistas, sendo a redação original mantida a fim de evitar supostos enganos.
Adeline Contreras
Lives and works in the UK
Instagram: @contreras_adeline
Website: www.adelinecontreras.com
Adeline Contreras lives and works in France. She creates works
exploring our collective, archaic, animal memory. It makes us feel
the existence of matter and gives us to see these perpetual
mutations. Adeline contreras never ceases to create shelters as
examples of the infinite possibilities of inhabiting this world in
motion, in order to find one's place there, in balance. The
combination of materials evokes shelter, fragility and the force of
life in the making. The alliance of thread, fabric, plants and earth is
a metaphor for the original envelope, a symbolic construction that
questions our memory, entanglement of archaic memories of the
emergence of life. Adeline Contreras exhibits in museums,
contemporary art centers, foundations in France and Europe.
Adeline Contreras vit et travaille en France. Elle crée des œuvres
explorant notre mémoire collective, archaïque, animal. Elle nous fait
sentir l’existence de la matière et nous donne à voir ces mutations
perpétuelles. Adeline contreras ne cesse de créer des abris comme
autant d’exemples des infinis possibilités d’habiter ce monde en
mouvement, afin d’y trouver sa place, en équilibre. L’association
des matières évoquent l’abri, la fragilité et la force de la vie en
devenir. L’alliance du fil, du tissu, des plantes et de la terre sont
une métaphore de l’enveloppe originelle, construction symbolique
qui questionne notre mémoire, enchevêtrement des souvenirs
archaïques de l’émergence de la vie. Adeline Contreras expose
dans des musées, des centres d’art contemporains, des fondations
en France et en Europe.
Ami Park
Lives and works in the USA
Instagram: @iam__ami_
Website: www.ami-park.com
Ami Park (b.1991 Seoul, Korea) lives and works in NYC. She
received a BFA in Fashion Design from Parsons The School of
Design in New York. Ami works with unique textile techniques
influencing irregular and infinitely variable natural forms driven by
deep scientific and spiritual curiosity. She has exhibited nationally
and internationally at New York Live Arts, Project V Gallery, Ethan
Cohen Kube, The Royal Society Of American Art, LIC-A in NY; The
Holy Art Gallery and La Galleria Pall Mall in London; Gallerie Dièse
in Paris; CICA Museum in Korea among others. Her wearable art
collection contributed to a multi-disciplinary project at MoMA and
Bronx Museum. Ami was recently granted by Puffin Foundation and
was awarded Immigrant Artists Program by the New York
Foundation for the Arts. She is also the latest resident artist for
Interdisciplinary Practices in Bio Art at the School of Visual Arts.
Her work is in private and corporate collections.
117___

Ânia Pais
Lives and works in Portugal
Instagram: @ania.pais
The experience of the landscape is the source of inspiration, the
pause in time that opens up in space as we understand it, it is the
event that we seek to make known. The work manifests itself as a
situated but open stage, in which bodies are staged and
choreographed according to the relationship they establish with
each other. A performative work, which begins in the studio and
spreads to the spectator, a sensitive body that inhabits the space,
that makes itself known and reveals itself as we walk through it, like
a landscape theater. The dialogue takes place in the void of the
scene, in which a visual and physical communication is built
between the event and the spectator through a body writing. Thus
installing a phenomenon of the present moment, of a self-sufficient
corporeity, exposed by its gesture, presence and above all by its
sensitivity. In which knowledge begins with experience and remains
in it, which realizes its own phenomenology of perception.
April J. Wright
Lives and works in the USA
Instagram: @apriljwright
Website: www.apriljwright.org
April Wright is a visual artist from Germantown, Tennessee. She
uses humble, everyday materials to connect personal narratives
about home, relationships, memory, and identity. She received her
B.A. in Sculpture and Ceramics from Union University and her
M.F.A. in Art Studio at the University of Kentucky with a focus in
Ceramics and Fibers in 2020. She works interdisciplinary in
sculpture and installation art.
Her work has been exhibited nationally and internationally in
museums and galleries, such as the Wiregrass Museum of Art in
Dothan, Alabama and Patricia Sweetow Gallery in San Francisco,
CA, Woman Made Gallery Chicago, Illinois, Bemis Center for
Contemporary Arts in Omaha, Nebraska, and Boom 48hr Student
Neukolln Artist Festival, Berlin, Germany. She has been an artist in
resident at the 701 Center for Contemporary Art Columbia, South
Carolina in 2020 and Mendocino Art Center in Mendocino,
California from fall 2020-2021. Currently, she resides in Frostburg,
Maryland where she teaches foundations in art as a Lecturer at
Frostburg State University.
___118

Ariadna Pastorini
Lives and works in Argentina
Instagram: @ariadna_pastorini
Website: www.ariadnapastorini.com
Born in Uruguay on 08/30/1965. Multidisciplinary artist, she uses
especially textiles to transfer them to the language of installation
and performance. She was awarded the Konex 2022 prize and
grants from the Pollock Krasner Foundation, Alfonso and Luz
Castillo Foundation, Oxenford Collection, Kuitca and The Banff
Centre of the Arts residency. 1st Prize at the National Visual Arts
Salon and Experimentation Award, AACA. Exhibited at Bienal Sur
virtual venue, Fundación Proa, CCK, Museu Textil de São Paulo,
Museo del libro y de la lengua, Bienal Textil de Madrid, Bienal Sur
Santa Fe, Colección Fortabat, Museo MAR and Museo de la
Memoria. His work is part of the collections of the Museum of
Modern Art of Buenos Aires, MAMBA, National Academy
of Fine Arts, National Museum of Fine Arts MNBA, Museum of
Contemporary Art Rosario, Santa Fe, MACRO, National Palace of
Arts and private collections. In pandemia he developed the global
event Performances de encierro. He edited the books
"Performance Pastorini ", "lockdown performances "and "Volumes
chosen 2019-1986"
Armelle Blary
Lives and works in France
Instagram: @armelleblary
Website: www.armelleblary.com
Armelle Blary works and lives in Reims, France
She started creating in 2000’s, after studying literature. Inspired,
over many years, by the principles of metamorphosis and
hybridisation, She has developed a distinctive universe that takes
many forms that all reflect the constant changes in
our modern world.
The medium of needlework and the materials associated to it
(thread, fabric, wool, canvas…) play a central role in this
exploration. From the very first sewn creations of the 2000s to the
most recent art works, sewing encapsulates everything about an
artistic endeavour and its power to invent, transform and repair.
Stitch by stitch and creation after creation, a true hand-sewn
odyssey appears with its own heroes and heroines, its mythical
creatures, its settings and its cult objects. This is how, with each
new show, Armelle Blary renews an endless dialogue around her
favourite topics: Love, Absence, Death, Faith and Creation.
Armelle Blary has been part of many solo and group exhibitions
(France, Belgium, Austria, Greece, China, Brazil…) Her creations
are present in private collection (France, England, Australia, USA)
as well as in public collections (Fine art Museum of Reims,
Tapestry Museum of Angers, France).
Armelle Blary travaille et vit à Reims, France
Elle a commencé à créer dans les années 2000, après des études
de Littérature. Inspirée par les principes de métamorphose et
d’hybridation, elle développe depuis plusieurs années un univers
aux formes variées évoquant les constantes mutations de notre
monde contemporain. Le medium couture et les matériaux qui lui
sont associés (fil, tissu, laine, canevas…) tiennent une place
importante dans ce travail d’exploration. Des premiers Cousus des
années 2000 jusqu’aux plus récentes créations, coudre cristallise
chez l’artiste ce que le geste recèle de pouvoir inventif,
transformateur, réparateur. Point après point, œuvre après oeuvre,
une odyssée cousue main se profile, avec ses héros et héroïnes,
ses créatures inventées, ses scenarii, ses objets cultes. Armelle
Blary renouvelle ainsi à chaque exposition un dialogue sans fin
autour de ses thèmes favoris : l’amour, l’absence, la mort, la foi, la
création.
Armelle Blary a participé à de nombreuses expositions, personnelle
ou collective France, Belgique, Autriche, Grèce, Chine, Brésil…)
Ses œuvres sont présentes dans des collections privées (France,
Angleterre, Australie, USA), et publiques (Musée des Beaux-Arts
de Reims, Musée de la tapisserie d’Angers, France).
119___

Cathy Jacobs
Lives and works in the USA
Instagram: @cathyjacobs_art
Website: www.cathyjacobs.com
Cathy Jacobs is a painter by training. Her works are a balance
between painting, sculpture, and textiles. She layers woven screens
to create vibrating fields of color. Screens and the act of seeing
through many layers are important concepts to her. Seeing the
world through fog, looking through long blades of grass, or seeing
the sky through the thatched branches of a forest, she finds beauty
in the layered natural world.
Growing up in a semi-industrial area near the city of Detroit,
Michigan, she had very limited exposure to visual art. Even though
her parents knew little about art, they encouraged her to draw and
paint. Cathy received a BFA in painting from Wayne State
University in Detroit. She later discovered weaving as an MFA
candidate at Eastern Michigan University in Ypsilanti, Michigan.
Through weaving, she was able to express everything she had
been striving for — light, air, color, and vibration — in threedimensional
space. By layering handwoven semi-transparent
screens (sometimes industrially woven) she began to create what
she calls “three-dimensional colorfield paintings”.
Cathy is fascinated by the ever shifting movement of wavy patterns
(called a moiré effect) and the visual blending of colors that
happens when looking through overlapping screens. (A lot of the
optical play can only happen when seen in person.) She has
exhibited artwork throughout the United States, Canada and the
United Kingdom, most notably at the World of Threads Festival in
Ontario, Canada, the Architectural Digest Design Show in New
York City, SOFA Expo (with Next Step Studio and Gallery) in
Chicago, and with Cluster Crafts in London, England.
She lives with her husband in Ann Arbor and works at her studio in
Ypsilanti, Michigan.
Clara Fina Frisk
Lives and Works in Sweden
Instagram: @clarafinafrisk
Website www.clarafinafrisk.se
Clara Fina Frisk arbetar skulpturalt, främst med textil som medium
och med slumpen som följeslagare. Oavsett vilket material Clara
Fina arbetar med, är målet att skapa verk som ser ut att vara
slumpmässiga, naturliga, organiska och mjuka. Som vid en
närmare anblick kanske egentligen har en annan karaktär.
Med stort intresse för de textila materialens egenskaper, utforskar
hon olika tekniker på ett intuitivt sätt. I en balansgång mellan det
kontrollerade och det okontrollerade, söker hon ett uttryck som
berör och ifrågasätter vad som är naturligt och onaturligt, spontant
eller tillgjort.
___120

Claude COMO
Lives and works in France
Instagram: @como_claude
Website: www.claudecomo.com
Since the 1980s, Claude Como (Born in 1964, lives and works in
Marseille — She was born in Marseille and arrived in Abidjan at the
age of 5 months.) has used oil paint, ceramics, resin, charcoal and
wool to fathom her own history. She also experiments with her
complex relationship to the realities of the world, where the living
finds a central place.
Claude Como grew up in Ivory Coast. Her father, a chemist, moved
to Abidjan the year she was born. She lived there until she was
sixteen, and still has a visceral attachment to a country where she
lived freely, in a collective way, close to the living. Since her difficult
departure, Claude Como thinks of herself as a floating body, neither
really here nor there. An in-between body that address - es the
questions of home, wandering, roots and belonging. She began
drawing at the age of five. Every Saturday, in front of a blackboard
on an easel, she “does her job”.
She would imagine a bal - let: its staging, its characters, the details
of the costumes. The following Saturday, she would erase the
blackboard and recreate new situations according to very precise
rules. In the end, this is what the artist has continued to do since
the 1980s. She creates new worlds out of images gathered from
her memories, her sensations, but also from the art history she
continues to explore. The figuration of these worlds goes through
the mastering of dif[1]ferent techniques for the realization of long
term series. She assumes that she knows nothing so that each
work becomes an adventure in itself.
This thinking by series allows her to investigate deeply into her
subjects, dedicating to them all the time that is required : “My
artistic approach is part of a permanent challenge, that is also a
game. I go towards that which I do not know how to do. Nothing is
ever taken for granted.” Each series involves a technical reset, but
also a vis - ual one, as the artist immerses himself in a new area of
the living. The result is a plural writing that adapts to the subjects to
which she devotes herself fully. She says that she has no style, that
she is not programmed to write in a unique manner. “I don’t have a
single way of doing things. I follow my intuitions even if I am not
recognized. It is in the long run that my work unfolds.
Courtney Cox
Lives and works in the USA
Instagram: @courtneycoxart
Website: www.courtneycoxart.com
Courtney Cox has been interested in textile art since early
childhood. She was fascinated by the cross stitch works made by
her grandmother and the crocheted blankets made by her greatgrandmother.
Beginning as a young child by weaving hundreds of
pot holders and sewing them into blankets, she graduated into
experimenting with yarn, playing with finger weaving and braiding
techniques. In middle school, Courtney became enamored with the
idea of the lady’s favors of the Middle Ages; small gifts bestowed
upon knights during jousting tournaments.
She hand stitched dozens of them, working mainly with lace and
ribbons. For several years in high school, she designed jewelry by
knotting and braiding hemp rope and embroidery floss. As a young
adult, she taught herself to crochet and made blankets large and
small, as well as decorative motifs.
Finally, in her mid-twenties, Courtney was introduced to hand
embroidery. She was immediately taken with the medium and
worked tirelessly on various freehand, original designs for hours
every day. Soon, she started accepting commissions, and then
entered her work into a state-wide juried art show in Texas. This
began her journey into the world of fine arts.
Since then, her work has progressed from florals and abstract
pieces, to portraiture and social commentary art.
121___

Cristina Rodo
Lives and works in Portugal
Instagram: @cri.ations_fiberart
Website: criationsbycristinarodo.com
Cristina Rodo is a Portuguese artist, born and raised in Lisbon.
Despite an artistic education, first in photography and later in
fashion and textile design, circumstances of life made her take
whatever came her way to make a living, ending up working in front
of a computer most of her life. So, she turned out to be a late
bloomer, having just recently found her call.
In 2017 fiber art caught up her attention and she started
experimenting with all kinds of techniques like crochet, knitting,
weaving, and tatting to create art pieces. Ultimately it was wet
felting she fell in love with, using sheep hair to create 2 and 3D
pieces. The unbelievable potential and versatility of the technique
and the exhilarating sensory experience and tactile delight of the
medium completely fulfill her. Always thinking out of the box, she
creates wall art and sculptural pieces that she likes to complement
with stones, wood, rusted iron, and light. Although she occasionally
uses color, her palette is mostly monochromatic. Lately she’s also
been exploring wearables and accessories. Being Portuguese the
sea is always very present of course, but nature in general is one of
her main sources of inspiration. Feelings and emotions are also
occasionally transposed into her art.
Ellen Dynebrink
Lives and works in Sweden
Instagram: @ellendynebrink
Website: www.ellendynebrink.se
Ellen Dynebrink (b.1986, Gothenburg) is a textile artist based in
Gothenburg whose work revolves around feminist theory and
subordinated aesthetics and materials
Her method includes exploring the value of feminine coded
expressions and objects, often taking a starting point in the
variables of time, control and material. She received her MFA in
textile art from the University of Gothenburg (HDK-Valand) in 2017
and a BFA in Textile Design from The Swedish school of Textiles in
2014.
Her work has been exhibited in galleries and museums both
nationally and internationally; Charlottenborg Kunsthall
(Copenhagen), Liljevalch's Vårsalong (Stockholm), 3e våningen /
GIBCA Extended (Gothenburg), Open Craft (Örebro), Gustavsberg
Konsthall (Värmdö), Nina Sagt Gallery (Düsseldorf), Konsthall C
(Stockholm). She recently was a grantholder in Stockholm at The
Swedish Art Grants Committee IASPIS residency program and her
work has been featured in the magazine Hemslöjd, Form Magazine
and Göteborgs Posten.
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Erick Wolfmeyer
Lives and works in the USA
Instagram: @ewolfmeyerquilts
Website: www.ewolfmeyerquilts.com
Everyone has a story. Our stories are how we know who we are,
and how we are known across miles, and generations. They are the
consummation of what we have been told, and what we have told
ourselves. Our stories are both our truth and our fiction.
Since childhood, I had the impulse to create. I instinctively attended
to patterns, and contradictions to those patterns. I sought to
understand how things were related, especially in ways below the
surface. Expressed in abstract patterns, color relationships, and the
act of repetitive construction, creating remains the core of my
identity.
A quilt is a commitment, a physical and spiritual expedition, full of
highs and lows. As with all good travel, I return a changed person.
My desire to make quilts parallels my unrelenting desire to access
that which is greater than myself. The act of creation is a kind of
prayer and meditation, an exercise of faith in a theology of art. A
finished quilt illustrates a metaphysical transformation of energy to
thought, and thought to physical manifestation.
I make quilts for the common good, not the least of which is my
own. I make them to be an inspiration, a joy, and a transcendent
experience for both myself and the viewer. The quilts record my
soul’s expansion through the work of my hands. They are both the
means and the end to the story that is my life.
Fabian Matz
Lives and works in Switzerland
Instagram: @atelierfabianmatz
Website: www.fabianmatz.com
Fabian Matz, born 1986 in Basel, Switzerland. Lives and works in
Basel. From 2006 to 2010, he completed an apprenticeship as a
desktop publisher with a vocational diploma in design at Allgemeine
Gewerbeschule Basel and Schule für Gestaltung Basel. From 2013
to 2016 he studied Art & Interpretation at Lucerne University of
Applied Sciences and Arts.
Since 2016, he has been running his studio „atelier fabian matz -
studio for elastic states“ and creates as a sculptor and installation
artist abstract and sometimes bizarre works in various media and
techniques with polyamide tights.
In doing so, he makes use of his large collection of different brands,
qualities and yarn thicknesses and explores their physical limits and
aesthetics. His works have been shown in group and solo
exhibitions in Switzerland, the Netherlands, Germany and the USA.
Likewise, his work has been presented in nationally and
internationally virtually curated exhibitions and publications.
123___

Franziska Warzog
Lives and works in Germany
Instagram: @franziska_wzg
Website: www.franziska-warzog.de
I was born in 1966 as the daughter of an artist couple in
Amsterdam. Since 1973 I lived in Holzminden, Germany, where I
spent my school years. Then I studied Ethnology and German
Philologie at the University of Göttingen, graduating with a Magister
artium. During my studies I created my first works in oil on wood
and canvas. For two years I lived in Oldenburg (Oldenburg), where
I continued my paintings in oil and acrylic. Since 1998 I live in
Hanover. Here I began to work mainly with textile materials. Threedimensional
sculptures were created, then relief- like paintings,
before a phase of sculptural work followed again. I'm married,
mother of two daughters and grandmother of two grandchildren.
Fuzzy Mall
Lives and works in Canada (American ex pat)
Instagram @quiltedportrait
Website: www.quiltedportrait.net
I was born in Pittsburgh, PA and attended Kent State University in
Kent, OH. I began painting immediately upon graduation and
consider myself to be self-taught. While in Ohio, I met my future
wife. We moved to a small college town in rural Missouri to pursue
a teaching opportunity.
I continued painting, developing a new body of work every year,
while working full time as a postman. I considered my studio
practice to be a passionate hobby.
As our lives changed, so has my work. Painting has given way to
textiles, our home has moved from the United States to Canada,
and my hobby is becoming a profession.
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Gerda Schimmel
Lives and works in the Netherlands
Instagram: @gerdaschimmel
Website: www.gerdaschimmel.nl
Gerda Schimmel, who lives and works in the Netherlands, was a
teacher of textile forms and theatre design, but has now been
working for years as an autonomous artist.
The forms and properties of textile materials are the starting point of
Schimmel's work. She predominantly makes spatial work. The
rhythm of threading, sewing and/or tightening determines the form.
Giving new life to discarded materials and devising constructions
are the pillars of her work. The series of circles in which Schimmel
uses discarded rags from the offset printing works is a good
example of recycling.
But she also manages to create unusual constructions with organza
that are not immediately visible, but depending on the way the light
falls or the angle at which you look at them, the separate parts
appear.
With Annelies Horden she forms the artist duo
H O R D E N & S C H I M M E L - insta: horden_en_schimmel
Jeannet Leendertse
Lives and works in the USA
Instagram: @Jeannet_leendertse
Website: www.jeannetleendertse.com
Born in The Netherlands, I spent much of my childhood crafting with
fabric, using my grandmother’s hand-crank sewing machine. I
chose to study graphic design, and at 27 left for New York in search
of an internship. After completing my degree cum laude, I moved to
the Boston area and became an award-winning book designer.
Several years ago I turned my focus again to textiles.
I grew up on the coast in the province of Zeeland [Sea-land], and
discovering The Blue Hill Peninsula of Maine felt in many ways like
coming home. Even though the landscape is different, the smells,
sounds, and wildlife are familiar. As I started spending large parts of
the year in this incredible area, my Shibori and knit work evolved to
echo its ancient landscape and marine life.
As an immigrant, my Dutch culture and heritage are always with
me, while I continue to make this new environment my home.
Adaptation and reflection are ongoing. My fiber process brings
these outer and inner worlds together.
As a crafts person, I feel a strong responsibility to consider my
materials, and what my creative process will leave behind. This
past year I started foraging seaweed—in particular Rockweed—to
work with. I discovered the amazing benefits this natural resource
provides. Seaweed not only creates a habitat for countless species,
it sequesters carbon, and protects our shoreline as our sea levels
are rising.
My work grows from coastal impressions and material
experimentation. It takes on a new life when moved out of the
studio and placed back in its natural environment. It is this feedback
that keeps me going.
125___

Jéssica Costa
Lives and works in Brazil
Instagram: @jessicacosta
Jéssica Costa é artista têxtil formada em Design de Moda pela
Faculdade Santa Marcelina (São Paulo, Brasil) e com
especialização em Criação de Malharia pelo ateliê Knit-1 (Brighton,
UK).
Atualmente sua pesquisa consiste em investigar o tricô e tapeçaria
de ponto[1]russo em uma narrativa de representação gráfica do
fazer manual, da mulher como indivíduo político-social e da sua
inserção no ambiente doméstico.
Jessica atua também como mentora e educadora de artes manuais
em São Paulo, cidade que reside. Seu trabalho mistura cores,
contemporaneidade e tradição. A existência que se faz pelas mãos.
Jonas Liveröd
Lives and works in Sweden
Instagram: @jonasliverod
Website: www.jonasliverod.com
Swedish Jonas Liveröds work is defined by an on-going exploration
of materials and mediums and ideas. He is deeply materially
unfaithful and his work ventures from textiles and sculpture to
collecting, print and lecture, and he is regularely working with
curating artefacts of wonder from museum and private collections .
2022 he is artist in residence at Centre Culture Suedois in Paris,
working on a new book - a Liveröd encyclopedia called Grand
Assembly, as well as producing a new podcast. He is curating the
show Exstasy for repetion for Kristinehamns Museum of Art as well
as preparing soloshows at Värmlands Museum and Linköping
konsthall and a series of events for the Museum of Modern Art and
is preparing a number of public artworks in Stockholm.
He has recieved numerous awards and grants and is currently
reciever of the Swedish Arts Councils prestigious five year grant.
Liveröd runs his own museum of the extraordinary - The Liveröd
wunderkammer which includes the residency Luftslottet and is
dedicated to collecting, outsider art, altered states, subcultures and
all things uncatergorisable.
From the swedish National Encyclopedia on Liveröd: ”Jonas
Liveröd's artistry is characterized by an unrestrained energy, a
place where everything from ancient to contemporary myths and
rites crashes and mixes in a violent discharge.
His method is mainly focused on drawing, sculpture and installation,
but embraces a number of expressions with a large mixture of
materials and interdisciplinary excesses, where he also works with
text, curatorial activities or what may cross his path.”
___126

Julian Campos
Lives and work in Brazil
Instagram: @juliancampos
Website: www.juliancampos.com.br
Julian Campos é artista visual e ilustrador. Graduado em
Comunicação Social pela Universidade Santa Cecília de Santos,
realiza trabalhos em diversas técnicas que prezam o fazer manual,
como gravura, bordado, cerâmica e colagem, tendo o desenho
como assunto e linguagem artística sempre presente em sua
produção.
É artista residente do Gravurar, espaço voltado às artes gráficas
localizado em Santos/SP, e artista colaborador do Núcleo de Livros
de Artista da Casa Contemporânea, em São Paulo/SP, onde
coordena o Grupo de estudos e produção em bordado e arte têxtil -
Entre Pontos.
Ministra oficinas e cursos na rede Sesc-SP e em outros centros
culturais. Tem participado de exposições, mostras e salões de
artes no Brasil e no exterior com sua produção voltada a linguagem
gráfica - gravura, desenho, bordado e livro de artista.
Karola Pezarro
Lives and works in the Netherlands
Instagram: @karolapezarro
Website: www.karolapezarro.nl
Karola Pezarro is trained at the Royal Academy of Art in the Hague.
Her work is based on a strong sense of wonder about the fragility of
life, about how the human mind works, how you remember, how
your thoughts fan out. In her artworks she asks questions about
what you carry with you visibly or invisibly. She examines these
questions in embroidery drawings and in videos. Together with Aris
de Bakker she forms the duo Akunzo.
Selected exhibitions and projects:
2022 Precious, in situ work, Karola Pezarro & Aris de Bakker
(Akunzo), Aselart, Mazcuerras, Spain
2022 Amsterdam International Art Fair, Galerie Adorable Art +
Design, Amsterdam
2021 Reservoir, in situ work, Karola Pezarro & Aris de Bakker
(Akunzo), Art & Gavarres, International Festival of Art and
Landscape, Girona, Spain
2021 Liquid Thoughts video (02:14), Shinano Primitive Sense Art
Festival, The Fleeting Moment of Water, Japan
2020 Softart, LOODS 6, Amsterdam
2019 Amsterdam International Art Fair, Galerie Adorable Art +
Design, Amsterdam
2019 Echo of the Desert Artist Residency, Tankwa Artscape, South
Africa
2018 Absence of Where You Are, Duo exhibition, Kadmium
kunstencentrum, Delft, The Netherlands
2018 Take a Moment, in situ work Karola Pezarro & Aris de Bakker
(Akunzo), Horizons Arts - Nature en Sancy, France (Prix Publique
2018)
127___

Katherine Hunt
Lives and works in the USA
Instagram: @katherineahunt
Website: www.katherinehunt.xyz
Katherine attended the University of Minnesota for her BFA in
Indigenous American Studies, studying under the mentorship of
Anishinaabe Activist/ Educator Winona LaDuke, double minoring in
Women's Studies and Cultural Psychology. She received her MFA
from California Institute of Arts, studying Curatorial Studies at La
Cinémathèque Française, Paris, France. Following graduation in
Los Angeles, Katherine worked in the Art Department on music
videos, feature films and television shows creating original art props
and set design.
In 2020, Katherine was selected as a recipient of an Andy Warhol
Foundation for The Visual Arts/ Fulcrum Fund Grant as well as a
Foundation for Contemporary Arts Emergency COVID-19 Fund
Grant. She has exhibited in solo and group exhibitions within the
United States and abroad.
Alongside art-making, Katherine has created numerous sustainable
urban gardens in New York and Los Angeles for schools,
businesses and estates, as well as worked on rural farms across
the United States. In 2018, she worked alongside Moving Arts
Española to create a weaving installation and heirloom garden on
Ohkay Owingeh Pueblo lands. Having taught Studio Art workshops
at the Detroit Institute of Arts, she is currently located in northern
New Mexico and represented by G2 Gallery in Santa Fe.
Lia Porto
Lives and Works in Argentina
Instagram: @liaporto_art
Website: www.liaporto.com
Born in Patagonia, Lia lives and works in Buenos Aires, Argentina.
With a multidisciplinary practice, grounded in painting and drawing
she incorporated embroidery, collages, and installations to explore
and interrogate about cultural identities, transcultural influences,
gender role, social standards and aesthetics, borders and
permeability. She uses the domestic space and it´s relationship with
the natural world as a model for this investigation, and the
ornament as the visual language that better evokes
symbolic links between these worlds.
She has exhibited widely in Argentina and in the USA, UK and
Spain. Some of her solo shows include “Perro – Lobo” (2020)
invited by ICBC Bank Fundation in Buenos Aires;
“Utotropico” (2018) awarded by Centro Cultural San Martin in
Buenos Aires and “The
works of Lia Porto” (2016) by Kroto Fine Arts in Chicago.
Lia received the Janet Bass Award for Creativity and Innovation at
FiberArt International 2022, Pittsburgh, Pennsylvania, USA, a
fellowship at I- Park Foundation, Connecticut , USA 2022, the 3rd
Prize at Salón Nacional de Artes Visuales, Palais de Glace 2021
(textile) and the First Prize Acquisition at the III Salón Nacional
Vicentín 2014 . She has been included in
“The best of 2014” collection by Saatchi Art.
Her work has been featured in many international art publishings
like:
Venti Journal, volume Senses (2022)
https://www.venti-journal.com/lia-porto
El Hurgador Arte en Red (2022)
https://elhurgador.blogspot.com/2022/02/lia-porto-pintura-textilesentrevista.html
Fiber Art International blog (2022)
https://fiberartinternational.org/lia-porto/
Textile Curator (2020)
https://www.textilecurator.com/home-default/home-2-2/liaporto/
The New Collectors Book (NY 2014)
https://issuu.com/thenewcollectors2011/docs/
ncb_091413_book_full/59
Inside the Studio Saatchi Art interview (2014)
https://canvas.saatchiart.com/art/inside-the-studio/lia-porto
Lia´s works are in private collections in Argentina, USA, Germany,
Switzerland, England and Slovenia.
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Louise Barrington
Lives and works in Scotland
Instagram: @louise_barrington
Website: www.louisebarrington.com
Louise graduated from both the Slade School of Fine Art within the
sculpture department, and Central Saint Martins where she
practised Textile Design, lending her work a unique combination of
skill sets. Since returning to the Orkney Islands, where she grew
up, she has established her own studio where she produces large
and small scale works for exhibition in Orkney as well as further
afield in Scotland and the UK.
The work is essentially abstract, evoking remembered
characteristics experienced in the landscape. Form, line, pattern,
and colour are translated in a lyrical and poetic way into works that
are wall based, with structural elements that expand threedimensionally
and those that are freestanding. A fundamental
component in the installation of works is the introduction of lighting
that extends the work further into the space that it inhabits through
the creation of a series of shadows. Louise's approach to
understanding landscape, has developed through her interest in the
concept and misinterpretation of ‘emptiness’ with open spaces.
Translated into her work, the void becomes an equally positive
space for projection of ideas and an expression of the limitlessness
of possibilities.
Artist Statement:
I am a multidisciplinary artist based in Orkney using film, dance,
textiles, and sculpture to focus on the aesthetic and environmental
aspects of the landscape experienced over the four seasons.
Where I live overlooks Scapa flow, it’s a continuous moving image,
the flow of movement, rhythm and patterns from the changing
season informs my artistic practice. The vast landscapes of Orkney
and the in-between moments of dusk, dawn, and twilight, creates a
restrained colour palette for my work. The in-between-ness
resonates with the Japanese concept of Ma, Orkney is an edge
environment that exists in the in-between spaces.
Mariana Porto
Lives and works in Brazil
Instagram: @marianaportoart
Website: www.marianaporto.com.br
A obra de Mariana Porto (São Paulo, 1974) tem o tecido como
suporte principal. Para além de uma pesquisa cromática e de
combinações de materiais, seus trabalhos investigam os limites
entre arte e objeto, e frequentemente tratam de um espaço mítico a
partir de símbolos universais. A artista vem ampliando seu
repertório de mídias e linguagens, sendo exemplo as performances
e seus registros em vídeos e fotos, e a ocupação do espaço
arquitetônico com instalações têxteis. Uma autoria compartilhada e
coletiva também se apresenta em trabalhos nos quais a artista se
disponibiliza à escuta e à colaboração com observadoresparticipantes.
Formada em artes plásticas pela Faculdade Santa
Marcelina, Mariana teve sua obra exibida na exposição Imersão no
Gênero Feminino, Mostra coletiva com curadoria de Nathalie
Nicolas no Museu de Arte da Universidade Federal do Ceará,
(Fortaleza), Espaço Galpão (São Paulo), Sesc Copacabana (Rio de
Janeiro) e Museo Nacional de la Acuarela (Cidade do México).
Obras em coleção pública (Museu de Arte da Universidade Federal
do Ceará, Fortaleza). Em 2019 fundou o Atelier 284, espaço
expositivo e cultural em São Paulo.
Concebeu e dirigiu iniciativas como a Jade Handmade de
desenvolvimento têxtil e projetos especiais, e a Objeto Design,
estúdio empresa de criação de produtos utilitários em alumínio
fundido, madeira de reflorestamento e vidro soprado.
129___

Matthew Downham
Lives and works in the UK
Instagram: @matthewdownham.art
Website: www.matthewdownham.com
After years of never quite knowing what he was trying to do, he
thinks he might be getting somewhere.
Born and raised in a small Welsh coastal town, and after a few
years of traveling, Matthew Downham has found himself based in
the Czech Republic.
After leaving university where he studied 3D design, he was struck
with the thought that creativity had become an overwhelming
source of anxiety and concluded that creativity was best avoided.
After realising the error in his thinking, Matthew has spent the last 6
years developing a way to become creative which alleviates the
anxiety, rather than exacerbating it. He constructs his work by hand
stitching layers of thread, whilst paying close attention, in a mindful
way, to the process of repeatedly creating a stitch.
Matthias de Vogel
Lives and works in the Netherlands
Instagram: @faultlineslab
Website: www.faultlineslab.com
Matthias De Vogel was born and raised in The Netherlands and
studied fashion design at Utrecht School of Arts.
After acquiring a master degree at the I.F.M in Paris he pursued a
career in fashion working for several well known brands including Et
Vous, Comptoir des Cotonniers, as well as the designers Isabel
Marant and J.C de Castelbajac. This career period establishes his
connection to couture and design in Paris.
After 15 years in Paris Matthias relocated to San Francisco, where
he worked as Global Concept Designer for the iconic brand Levi
Strauss.
This role takes him around the world where he meets many
inspiring people, providing the opportunity to work with these
artisans and study their cultures, craft and approach to art.
His work is influenced by this research; specifically the meaning of
color and use of prints and patterns from all of these different
regions.
Returning to Amsterdam, Matthias De Vogel creates his textile lab
and studio Fault Lines, founded in 2015. Here he experiments with
traditional ideas of textile art and reinterpret this in a new way.
Matthias creates unique textile art within three essential design
principles: educate, assimilate and innovate.
___130

Miriam Medrez
Lives and works in Mexico
Instagram: @miriammedrez
Website: www.miriammedrez.com
Miriam Medrez interest has always focused on the experience of
the body, the ceramics that have shown her the primordial chemical
process of the earth that takes shape and texture, the textiles from
which she has learned the perfect analogy of the skin and the
sense of touch, these are the reasons why through all her work the
holes are a fundamental element to talk about the inside and the
outside, the essential definition of the human body.
Miriam was born in Mexico City in 1958. She studied Plastic Arts at
the Universidad Nacional Autónoma de México (UNAM) and at
Concordia University in Montreal (Canada). Since 1985 she has
lived in Monterrey, Nuevo León, where she conceptualized,
developed and consolidated much of her work as a sculptor and as
an artist who has gradually come closer to collaborating with
writers, filmmakers, sound and performance artists, broadening her
research on the body with a technical quality and a direct
conceptual message as in "Resonancia Onírica" Centro Cultural
Plaza Fatima, San Pedro Garza García N.L. (2022); "Vestidos
Invertidos” MUNAL Museo Nacional de Arte, Mexico City. (2020)
“Happiness” Form 110, Houston, TX. (2020) "Lo que tus ojos no
alcanzan a ver" Art League of Houston, Houston, TX (2019), all
exhibitions where Miriam has always seek exploration and
reinvention to better talk about her notion of the body, sexuality,
relations between the various bodies.
The exhibition "Del texto al objeto" at the Civil College of the UANL,
Monterrey, N.L. in 2017, it was corresponding to her reception of
the 2016 UANL Award for the Arts. Among her most outstanding
exhibitions and recognitions, her participation in the Hang Zhou
Triennial Fiber Arts should be mentioned. Chinese, 2019; “La
estructura de la piel”, individual exhibition at the MARCO Museum
2008; “Contextile 2014”, Contemporary Textile Art Biennial,
Guiñareis, Portugal, where it won the Acquisition Award; “World of
Threads Festival 2014”, Oakville, Ontario, Canada; the “Bienal
Monterrey 1998” Sculpture Award from the Museo de Monterrey;
and having been selected as a Member of the National System of
Art Creators, FONCA-CONACULTA (2015, 2011 and 2006). Her
work is part of the public collections of the UDLAP Art Collection;
Puebla, Puebla; MARCO Museum; Monterrey N.L; Amparo
Museum, Puebla, Puebla; “Candina House;” San Juan Puerto Rico;
Keramik Museum Grimeerhaus, Denmark; FEMSA Collection,
Monterrey N.L. and the Jingdezhen Ceramic Cultural Center,
Jiangxi Province, China, among others. Art critics and curators
Xavier Moyssen Lechuga, Ingrid Sukaer, Boris Hirmas, Esther Leal,
Virginie Kastel and Erick Vázquez have written about her work,
attracted by her originality and tireless discipline.
Mónica Leitão Mota
Lives and works in Canada
Instagram: @monicaleitaomota
Website: www.monicaleitaomota.com
I'm interested in exploring the use of thread to draw lines and
create texture and detail. The graphic and marked lines I create
with thread while using the lowest speed of the sewing machine is
something that is a constant in my work.
Photography and image manipulation are usually where I start my
creative process, and screen-printing with photo emulsion and free
motion macine stitching are my chosen and favourite techniques.
I use recycled fabrics, paper, organza and screen-printed mesh to
create layers of textured surfaces, and I then draw on those layers
with thread using free-motion machine stitching at its lowest speed,
to create even more texture, connecting all the printed surface
layers with those graphic lines.
This graphic, textural and linear part of my way of expressing, this
seeking of light and shadow contrasts and variations, I believe it
has plenty to do with my background studying Sculpture in Porto,
Portugal.
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Muriel Maire
Lives and works in France
Instagram: @murielmaireart
Website: www.murielmaire.art
Muriel Maire was born in Paris, France. She creates sculptural
objects that combine several techniques such as weaving,
basketwork, embroidery, crochet. Self-taught artist, her creative
approach is characterized by the intuitive assembly of natural
materials, plant fibers, driftwood, seed pods, dried flowers as well
as recycled elements such as metal or fabric. As an extension of
her artistic work, Muriel also makes photographs of her creations,
and thus highlights certain details of the realization.
Mustafa Boga
Lives and works in Turkey
Instagram: @bogamust
Website: www.mustafaboga.com
Mustafa Boga is a multidisciplinary artist based in the UK and
Turkey. He completed his masters degree in 2016 from Central
Saint Martins in London after studying for an MA in Fine Art. He
achieved a bachelors degree from Istanbul University at the Faculty
of Communication and Journalism.
Mustafa has won several awards including The Red Mansion Art
Prize, which took him to China, where he created a piece of work
entitled ‘There He is Without a Proper Diagnosis’ relating to his
different cultural experiences. In 2017, Mustafa has worked with
international artists such as Otobong Nkanga and Irena Haiduk,
and has performed in Documenta14 in Kassel, Germany. In 2018
he was awarded as ‘Highly Commended Artist’ at the Ashurt
Emerging Artist Prize and got a fellowship at RAW Material
Company in Dakar, Senegal. In 2019 he took part in a residency
(ThirdBase) in Lisbon where he created a series of textile works
called ‘The landscape of Perpetual Flags’. In 2021 he won Bilsart’s
video art competition and had a solo show. Boga’s works examine
the differences between art and documentary and how
contemporary multi-media manipulate our understanding of current
affairs. He is interested in the boundaries that separate the viewing
of events as a witness and his desire to tell stories. He has a
background in journalism and film and have brought these skills into
play in his fine art practice.
His work is a way of narrating his background both emotionally and
culturally, not just as portraying with images, but how they are
reserved and recollected in his mind. They are inspired by family
history, childhood memories and personal experiences. He works
deals with issues such as gender, national identity, militarism,
masculinity and sexuality. He works across a range of different
media including them with textile, video, photography and
installation.
About embroidery work: During the lockdown, I started making
freehand machine embroidery and tried to capture a vision for a
post-pandemic future, along with a journey through his creative
influences and history. When He starts to make each work with this
medium, however, he makes plans and lays out all the yarn with
color coordination, but in the end, improvisation leads him. The
randomness of mistakes makes sense when the viewer looks at the
work from a few feet away. The process becomes quite satisfying
after adding hundred of meters of thread and suddenly, an
impression appears. They are not always portrait of people he
knows or situation that he has experienced or they are there
because they represent something about him. But rather they
represent realities about the world we live in. They usually stitched
up from many different people, ideas, images, happenings,
thoughts, historical references or imaginary moments. He uses hi
own photo archive as well as found images and he assembles them
in a way to create a new narratives. Sometimes the work directly
explains the concept and sometimes it opens new doors for
multiples ideas to be interpreted.

Mylene F. Rizzo
Lives and works in Brazil
Instagram: @ateliermylenerizzo
Website: www.mylenerizzo.com.br
Mylene é psicóloga, historiadora, fotógrafa e viajante contumaz.
Com mais de 60 países na bagagem sempre procurou um ângulo
inusitado em suas imagens e viagens que foca em experiências
vivenciadas e na cultura de cada região visitada.
Numa configuração familiar eminentemente feminina, os trabalhos
manuais sempre perpassaram as relações, conviveu entre agulhas
e linhas desde a mais tenra infância. Com a mãe aprendeu a
desenrolar novelos e lidar com as agulhas, com a avó o amor pelas
flores e pela natureza.
Foi na fotografia bordada que encontrou o ponto de intersecção! O
enredo que liga as linhas de construção pessoal ao acervo que
construiu. Bordando sobre as imagens reproduz a essência interna
criando um novo matiz, baseado em culturas diferentes e
referências históricas.
Natsuko Hattori
Lives and work in the USA
Instagram: @natsuko.hattori
Website: www.natsukohattori.net
Natsuko Hattori is an artist using fabric to create sculptures.
She collaborated with flower artist twice for exhibits at The
Metropolitan Museum of Art. Also she had solo exhibition at the
Wall Street Journal building, 92 street Y ,First Street Gallery,
Chashima Gallery, Waterfall Gallery, and other over 80 exhibitions.
Also held in US cities other than New York, Europe and Japan. She
has received many awards and grants including winning the Aoki
Shigeru Memorial Grand Prix Award thrice in Japan.
Since 2014, she has been holding a performance titled “Dancer in
MocoMoco”, and works on spatial art by dance, music, video and
photography.
In 2019, her works were exhibited in the “Reiwa” bookkeeping hall
of the Japanese Consulate General in Japan. In 2020, Swatch Art
Peace Hotel, a sponsor of the watch company Swatch, will be
invited to Shanghai as a half-year contracted artist. Currently
working actively in an atelier in New York City and Japan.
Fabric is her medium of choice because people everywhere can
relate more easily to this material, which conveys warmth, natural
softness and the intimate human touch. The act of wrapping is
essential to her sculptures.
Her artwork begins with choosing and cutting fabric to make cotton
filled balls. These vibrant, sometimes flamboyant colored balls are
bounded together to make each masterpiece unique and
extraordinary. Each ball represents the inner state of Mankind.
The gesture of wrapping around each round ball, is an act of
transformation that converts pain, sadness and despair into positive
energy such as love or a prayer for comfort. She hopes her work
conveys a sense of happiness and celebrates the human spirit.
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Preta Wolzak
Lives and works in the Netherlands
Instagram: @pretawolzak
Website: www.pretawolzak.nl
Preta Wolzak studies at the Gerrit Rietveld Academy in Amsterdam,
Free Programme / Monumental Design, from 1986 to 1991. In the
following years she primarily works on commissioned projects: she
designs and builds furniture, designs exhibitions, works as a
producer and stylist for photographers, designs private and
corporate interiors, and makes illustrations for websites and book
covers. Preta starts making jewelry under the name Fortblink in
2008, and around that time she also starts working as an
autonomous visual artist. From 2013 onwards her free work
becomes increasingly important. In that year she opens her own
creative store Old Fort On Dun at the Oudeschans in Amsterdam,
where she has her atelier, shows her free work, sells her jewelry
and presents work by other artists and designers as well. From
2014 on, Preta works exclusively on her free work.
Rachael Wellisch
Lives and works in Australia
Instagram: @rachael_wellisch
Website: www.rachaelwellisch.com
Rachael Wellisch is an Australian artist making sculptures,
installations, paper pulp paintings and wall hangings using textiles
and natural indigo dye. Employing a range of traditional and
expanded textile techniques, for example dye, stitch, rag-rug and
rag-paper making, performance, photography and film, her practice
is centered on transforming salvaged textile waste. Rachael
cultivates and dyes with natural indigo, drawing on indigo’s rich,
global, history and processes, reflecting the themes of
transformation, connection, consumption and colonisation.
Graduating with a Bachelor of Fine Art (Honours) in 2016, Rachael
has exhibited both nationally and internationally, and has been
selected for and awarded in both national and international art
prizes and grants. She is currently a post-confirmation doctoral
candidate at Queensland College of Art, Griffith University.
RE.: Artworks on pp. 88
Softest Hard #8, 2022
Feeling compelled to make art about sustainability, despite decades
of inaction on climate change, the title of this series, Softest Hard,
references both the subjective context of hard edge colour field
painting, as well as my own feelings of cognitive dissonance facing
the impending threat of climate crisis.
Recuperated Material Monuments #7, 2019
Household textile waste, hand-dyed with natural indigo, then
layered one piece at a time.
Tomes #21 2021
This series of hand-made paper works transforms the offcuts of t-
shirt production, by dyeing and then painting with the pulped fibres.
While the works may suggest arch-framed vistas of sparkling water,
the materials offer a “view” on relationships between textile
production, consumption and waste.
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Renato Dib
Lives and works in Brazil
Instagram: @renatodib
Website: www.renatodib.com
Sou artista plástico há mais de 20 anos, sempre utilizei o tecido e a
costura como forma de expressão.
Desenvolvo muitos trabalhos utilizando uma diversidade de
técnicas têxteis experimentais e materiais com importante carga
simbólica, seja visualmente ou materialmente. Principalmente,
utilizo de materiais cotidianos que possam ser encontrados no lar,
têxteis ou não, mas que sirvam para o propósito do trabalho.Com
estes, elaboro painéis, pinturas "moles", objetos, esculturas e
instalações.
Já participei de muitas exposições coletivas e individuais em
museus e galerias no Brasil e no exterior. E também venho
dividindo minhas experiências através de workshops e cursos de
arte têxtil e criatividade.
Rima Day
Lives and works in the USA
Instagram: @rimadayart
Website: www.rimadayart.com
Rima Day uses thread, fabric and paper to create artwork that is
inspired by nature and the human body. Even though her
background is fashion and costuming, she adapted her skill and
knowledge in garment construction into a language to express
herself through art.
She studied fashion design both in her native city of Tokyo, Japan
and later in New York City and worked as a freelance custom ballet
costumer in New York City and Connecticut.
While working at the costume shop in Vanderbilt University, she
started making 18th century dresses with used jeans as a part of
upcycling projects. They were exhibited in several galleries and she
realized that it is possible for her to use her sewing skills to create
art instead of costumes. She started exploring the possibilities.
She is currently investigating the idea that needle and thread for her
is the same as pen and ink for a writer. Her fabric books are in
collection at the University of Iowa as well as private collections and
has been introduced in Colossal. She lives South of Nashville, TN.
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Séverine Gallardo
Lives and works in France
Instagram: @severinegallardo
Website: www.severinegallardo.tumblr.com
Séverine Gallardo is working and living in Angoulême, France.
Her artistic approach is essentially nourished by folklore and their
costumes, with a particular interest in headdress and masks. Her
creative process uses traditional textile skills and techniques, such
as felting, embroidery, knitting and crocheting. Over time, her
creations tend more precisely towards architectural forms,
combining ornamentation or embroidered patterns that she takes,
most often, from old and documentary images.
Finally, she is co-founder of Marguerite Waknine editions, where
she has been managing the Le Cabinet de Dessins collection for
several years.
Star Trauth
Lives and works in the USA
Instagram: @startrauth
Website: www.wethree.net
Star Trauth is an award-winning artist and writer. She received her
degree in Fine Art(Mt St Joseph University, Ohio, USA) and
continues to study related to her field. Her practice seeks to attract
the audience visually with a desire for tactile engagement. She’s
sought to create new art mediums with environmentalism in mind,
using waste paper and plastic, and converting it to a flat pliable
textile. Star hand molds and flame sculpts each piece, miniature
original works in their own right, then melds them as free-standing
sculpture, assemblage, or wall hanging. Her work is heavily inspired
by music, experiences from her adventurous life, and currently a
fierce battle with cancer. This has also led her to dabble in new
media while she regains her strength. Selected solo exhibitions
include ‘Art Deco Weekend’ Life is Art, Miami, Florida(2015);
‘Sublimate: Totems, Tokens, and Lore’ Vargas Gallery, Pembroke
Pines, Florida(2018); ‘Star Trauth: A Solo Show’ Worldwide Art
Movement Gallery, Kochi, India(2020), Selected group exhibitions
include’Stamp IV’ Conrad Meier Musem, Argentina(2022) ‘Women
Pulling at the Threads of Social Discourse’ The CAMP Gallery,
Miami, Florida, USA(2022), ‘Beyond Borders’ Chang Kil Hwan
Museum, Gangneung, South Korea(2021); ‘Touch’ Woman Made
Gallery, Chicago, Illinois(2020); ‘Atomic Peace’ Haegeumgang
Theme Museum, Geoje, South Korea; ‘Artist Statement 4&5’ Czong
Institute for Contemporary Art Museum, Gimpo, Korea(2019, 2020);
‘20th International Competition Incheon Metropolitan City Art
Exhibition’ National Arts Association Incheon Metropolitan City
Branch,
Incheon, South Korea(2019). Trauth has crafted two books; ‘One to
Five’ Lulu Press, ISBN 978- 0359402670(2019); ‘Sublimate:
Tapestry and Lore’ Lulu Press, ISBN 978- 1387803897(2018) and
has been included in many prestigious publications including, ‘Dada
Centennial: Day of the Dead’ Cecil Touchon, ISBN 978-
1365877308, ‘Artist Statement 5’ CICA Press, ASIN B08879JT5C,
and ‘Contrastes de Forma’ Rodrigo Franzão, ISBN 978-65-001-
6078-9(2020).
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Susie Koren
Lives and works in the UK
Instagram: @susiekoren
Website: www.susiekoren.com
Textiles are integral to Susie’s work life. She studied Interior Design
at Chelsea School of Art in the 1980s and has dedicated time to her
painted textiles alongside her interiors practice. Painting with earth
pigments in a natural binder, including the pigments she collects
and processes, creates her muted palette, materials that limit her
impact on the environment.
She endeavours to capture the colour of the light and atmosphere
between land, sea sky; the emptiness of stormy windswept
beaches, the vast and constantly moving horizon, the enormity and
ancientness of mountains; the beauty and fragility of our planet.
The mediative repetition of hand stitch adds another layer to her
visual language, drawn from adapting traditional stitch techniques;
running stitch, French knots that become drawn lines, expressive
textural marks and textures that map the landscape on the cloth.
With an itinerant childhood and enquiring mind observing maps,
geography and geology have informed her work. Susie has
undertaken observational field trips to the Outer Hebrides, Cornwall
and the Arctic Circle to witness the impact of the changing weather
patterns. Trips are integral to her creative process to experience
first-hand the repetition and rhythms of nature through walking,
gathering and recording to create a sense of place.
Back in the studio, her sketchbook observations made, colour
studies and textural marks act as reminders. Susie received the
Royal Cambrian Academy Open Selectors Prize in 2022, was
selected for The Royal Academy of Art Summer Exhibition 2016
and regularly exhibits in international textile group exhibitions,
winning the Fine Art Textile Award in 2015. Susie has had work
published in several books, interviewed by quilt magazines,
including The Textile Curator and has sold work in the UK, Europe
and USA.
Vanessa Freitag
Lives and works in León/México
Instagram: @freitag_textileart
Website: www.freitagvanessa.com
I am a textile sculpture artist who use various textiles techniques -
sewing, crochet, embroidery and weaving - and recycled materials
to build organic shapes that are often imaginary and undefined. My
work alludes to flora and fauna from my upbringings in Brazil as
well as my surroundings in Mexico where I live and work.
Childhood memories, artisanal processes and the botanic are some
of my sources of inspiration. I explore the symbiotic relationship
between past and present, between Brazil and Mexico, and
between various living organisms and the cityscape.
The end result is an imaginary garden that allows me to stay
connected with my origins and ease the longing of living far from
my homeland.
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Verónica Ryan
Lives and works in Argentina
Instagram: @vero.ryan
Website: www.veroryan.com
What’s the relationship between time and memory? Outside of time
there is no memory. What interests me is that time that differs from
the present we perceive, a time that doesn’t take into account days
and weeks. A time that follows nature’s rhythms. Thus I ally myself
with earth to create, in an effort to resume that primordial tie. The
earth I inhabit, the ties that inhabit me…
Earth and ties are part of a whole that informs me. Where do I draw
the line that separates me from the earth? Which is the limit that
separates me from the others? How to recognize myself outside of
them? I use textiles as a record, indisputable witness of the
passage of time that will reveal the secrets earth keeps to itself.
Textiles as a first and last skin.
There memory will become trace, scar, absence… and will also
come to remind me of a lived life, the time that I am, transit and
passenger. Earth inhabits me and habilitates me, I am witness and
party, guest and host…. With my work, I seek to shed some light on
that primordial everlasting relationship, and on that other elusive
unruly time.
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ARTISTS INDEX
Índice de Artistas
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The first two numbers that follow the artist refer to the illustrations of the works, with the exception of the last numbers that indicate the biographical
notes.
Os dois primeiros números que seguem o artista são referentes às ilustrações das obras, a excessão dos últimos números que indicam as
notas biográficas.
Adeline Contreras 16, 17, 117
Ami Park 18, 19, 117
Ânia Pais 20, 21, 118
April J. Wright 22, 23, 118
Ariadna Pastorini 24, 25, 119
Armelle Blary 26, 27, 119
Cathy Jacobs 28, 29, 120
Clara Fina Frisk 30, 31, 120
Claude COMO 32, 33, 121
Courtney Cox 34, 35, 121
Cristina Rodo 36, 37, 122
Ellen Dynebrink 38, 39, 122
Erick Wolfmeyer 40, 41, 123
Fabian Matz 42, 43, 123
Franziska Warzog 44, 45, 124
Fuzzy Mall 46, 47, 124
Gerda Schimmel 48, 49, 125
Jeannet Leendertse 50, 51, 125
Jessica Costa 52, 53, 126
Jonas Liveröd 54, 55, 126
Julian Silva 56, 57, 127
Karola Pezarro 58, 59, 127
Katherine Hunt 60, 61, 126
Lia Porto 62, 63, 126
Louise Barrington 64, 65, 129
Mariana Porto 66, 67, 129
Matthew Downham 68, 69, 130
Matthias de Vogel 70, 71, 130
Miriam Medrez 72, 73, 131
Mónica Leitão Mota 74, 75, 131
Muriel Maire 76, 77, 132
Mustafa Boga 78, 79, 132
Mylene F. Rizzo 80, 81, 133
Natsuko Hattori 82, 83, 133
Preta Wolzak 84, 85, 134
Rachael Wellisch 86, 87, 134
Renato Dib 88, 89, 135
Rima Day 90, 91, 135
Séverine Gallardo 92, 93, 136
Star Trauth 94, 95, 136
Susie Koren 96, 97, 137
Vanessa Freitag 98, 99, 137
Verónica Ryan 100, 101, 138
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PHOTOGRAPHIC CREDIT
Crédito Fotográfico
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The images of the artworks reproduced in this book were sent by the artists themselves. The artist authorized the use of the image of his/her/
their work by means of a signed consent form. Intellectual Property Rights (scientific, literary or artistic) are reserved for the artist. The number
indicates the page corresponding to the artworks.
As imagens das obras reproduzidas neste livro foram enviadas pelos próprios artistas. O artista autorizou o uso da imagem de seu trabalho
por meio de termo de consentimento assinado. O Direito de Propriedade Intelectual (científico, literário ou artístico) está reservado ao artista.
O número indica a página correspondente as obras.
Adeline Contreras 16, 17
Ami Park 18, 19
Ânia Pais 20, 21
April J. Wright 22, 23
Ariadna Pastorini 24, 25
Armelle Blary 26, 27
Cathy Jacobs 28, 29
Clara Fina Frisk 30, 31
Claude COMO 32, 33
Courtney Cox 34, 35
Cristina Rodo 36, 37
Ellen Dynebrink 38, 39
Erick Wolfmeyer 40, 41
Fabian Matz 42, 43
Franziska Warzog 44, 45
Fuzzy Mall 46, 47
Gerda Schimmel 48, 49
Jeannet Leendertse 50, 51
Jessica Costa 52, 53
Jonas Liveröd 54, 55
Julian Silva 56, 57
Karola Pezarro 58, 59
Katherine Hunt 60, 61
Lia Porto 62, 63
Louise Barrington 64, 65
Mariana Porto 66, 67
Matthew Downham 68, 69
Matthias de Vogel 70, 71
Miriam Medrez 72, 73
Mónica Leitão Mota 74, 75
Muriel Maire 76, 77
Mustafa Boga 78, 79
Mylene F. Rizzo 80, 81
Natsuko Hattori 82, 83
Preta Wolzak 84, 85
Rachael Wellisch 86, 87
Renato Dib 88, 89
Rima Day 90, 91
Séverine Gallardo 92, 93
Star Trauth 94, 95
Susie Koren 96, 97
Vanessa Freitag 98, 99
"Cripsis- striped" and "Adaptación para Cripsis"
by Terr Negrete
"Criaturas de Topiarius"
by Juliette Villalobos
Verónica Ryan 100, 101
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BIBLIOGRAPHY
Bibliografia
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ARANHA, Maria Lúcia de Arruda e MARTINS, Maria Helena Pires. Filosofando; Introdução à filosofia. São Paulo: Moderna, 1988.
CARROLL, Noël. Filosofia da arte. Lisboa: Texto & Grafia, 2010.
GREUEL, Marcelo da Veiga. Da "Teoria do Belo" à "Estética dos sentidos": reflexões sobre Platão e Friedrich Schiller. Anuário de Literatura,
Florianópolis, p. 147-155, jan. 1994. ISSN 2175-7917. Disponível em: . Acesso em: 02 junho de 2022. doi:https://doi.org/10.5007/%x.
KANDINSKY, Wassily. Do espiritual na arte. São Paulo: Martins Fontes, 1996.
OSBORNE, Harold. Estética e Teoria da Arte. São Paulo: Editora Cultrix, 1993.
VICENS, Frances. Arte abstrata e Arte figurativa. Rio de Janeiro: Salvat Editora do Brasil S.A., 1979.
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Museu Têxtil
art@museutextil.com
www.museutextil.com
Instagram: @museutextil
Format:
Mohawk ProPhoto Pearl 140# (190 GSM) Semi-gloss FSC certifiable
Custom Size (300mm x 300mm)
Colorful
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