My work is driven by personal experiences, feelings and the subconscious. The vessel as a female symbol for holding and giving up was used often and appears in the presentation in various outcomes.
The knowledge, that emotions from former generations are given to the next by the subconscious, was the starting point for my BA work.
“Flying Family Tree”
paper, stitched with cotton thread, free hanging by fishing line
2012, London, England
The bowl form reappeared in my MA work. By using transparent paper to wrap a basket in the diameter of 1.60 meter, I tried to present my childhood feelings in my home nest. In addition, photos and a video loop were presented.
“Nest that doesn’t cradel”
transparent folie, cotton yarn, photos, video
2017, Barnsley, England
During the last years I worked through different themes relating to the 20th century German history and so they relate to my personal family history.
In the group exhibition “Mend”, shown in the Coventry Cathedral and the Nail Cross Christus Church in Karlsruhe, I tried to work to the different destroyed Cathedrals and churches in England and Germany. The use of medicine material and the red colour provide the link to the hurting of both sides.
“Reconciliation yesterday and today….into a hopefully better future”
card board, different threads, red acrylic paint, photo, gauze bandage, wire, nails, silk
2018; Coventry Cathedral England; Christuskirche Karlsruhe, protestation Church Herxheim, Germany
The knitted “Hidden Spaces” (online quinary12 exhibition) were constructed without a plan and very spontaneous. All have different openings and indentations.
Beside photos of the presentation in the landscape snapshots were taken from the inside of the containers.
As well a series of photos of the used threads, laying under a microscope, present the material in another context and transform the material into a meditative moon like outcome.
After a colour painting online workshop, I could restart with the intuitive use of self-dyed fabric and over a long time collected, different yarns. The use of colour is back. It feels very good and satisfies my inner self.
During the first step huge textile colour fields laid on the floor, then some of them were stitched by hand to a bigger piece of cloth and afterwards I started to stitch intuitively into.
The backside was the one I preferred and so it was arranged in a 3 D piece. Photos and close ups were taken and printed onto transparent silk.
left: frontside – right: backside
It is my inner space which is visible – without the covering of old experiences. The personal essence gets space in colours and folds. Catherine Dormor´s last book “A Philosophy of Textile: Between Practice and Theory” and the philosopher Gilles Deleuze will give me insights from a theoretical point of view.
I can sit and watch endless into the hidden spaces, reflect about the nonvisible parts. These spaces will provide next steps to work on. Going bigger or very small? We will see.