Animism. Design with the soul.

“The animal world will keep invading and transforming the life of humans represented in a more abstract and less narrative manner.
Fibre and plant are becoming dominant materials animated by organic form and skeleton structures”.

“Primitive matter and organic shapes will embody a need of man longing for a more meaningful and ritualistic relationship with earth and the elements.
Resulting in a revival of animism.
Therefore designers create brut and raw shapes that resemble totemic termite mounds, honeycomb shape, spider web laces and timber structures”.

“Can design have a soul and therefore be animated?”

I have mentioned Li Edelkoort some years ago in one of my posts here and now came across her words again when Irit shared it. There’s so much of the truth and purity in her words about trends (that we already see today!) which echo so well with my own inner feelings and believes.

And the whole trend report of her is so well worth reading:

“Post Fossil - excavating 21st century creation by Lee Edelkoort 2011
Time has come for extreme change
Society is ready to break away from last century for good.
To break with creative conventions, theoretic rules and stigmas that now are questioned, challenged and broken.
To break with a materialistic mentality replacing it with the crafted materialization of modest earth-bound and recomposed matter.
In the aftermath of the worst financial crisis in decades, a period of glamorous and streamlined design for design's sake come to an end.
A new generation of designers retrace their roots, refine their earth and research their history, sometimes going back to the beginning of time.
In this process, they form and formulate design around natural and sustainable materials, favoring timber, hide, pulp, fibre, earth and fire.
Like contemporary cavemen, they reinvent shelter, redesign tools and manmade machines, and conceptualize archaic rituals for a more modest, content and contained lifestyle.
Like a Fred Flintstone of the future.
The animal world will keep invading and transforming the life of humans represented in a more abstract and less narrative manner.
fibre and plant are becoming dominant materials animated by organic form and skeleton structures.
Our relationship with all living organisms is at stake. Therefore humans will share and care for each other.
Soon the world will discover that we are all family.
Ecology and sustainability will no longer be enough.
Primitive matter and organic shapes will embody a need of man longing for a more meaningful and ritualistic relationship with earth and the elements.
Resulting in a revival of animism.
Therefore designers create brut and raw shapes that resemble totemic termite mounds, honeycomb shape, spider web laces and timber structures; at times incorporating biotechnology into the making process to inspire design systems for the future.
Nature is a dominant ingredient in this movement, although no longer used in a naive and aspiring ecological language, but as a mature philosophy fit for newer age. Raising the questions that need to be raised.
Can we do with less to become more?
Can design have a soul and therefore be animated?
Can man find a more meaningful way to consume?
Can we break with the past and reinvent the future?
In general, materials will be matte and humble, however the earth and its hidden riches also invites this generation to employ minerals, alloys and crystals; adding lustre and sometimes even sheen to fossil-like concepts and constructions.
Laquered and polished surfaces are enhancing vegabond finds, unveiling their raw beauty while questioning the survival of the world's economy.
At times these designs will echo the essence of the arte povera movement which is bound to make a revival – soon”

Lidewij Edelkoort

EXPLORING NUNO FELT and ECO PRINT with Vilte Kazlauskaite & Irit Dulman

BIG ANNOUNCEMENT! and more details coming your way! But...if you are interested in exploring nuno felt textures and natural eco print with me and Irit Dulman in the island of Aphrodite - Cyprus (can you believe it??? :) reserve the dates this July!

Course I
Beyond the surface. Fabric manipulation in nuno felt dresses + Eco print.
July 17-20

Course II
Wild fibers. Fiber manipulation and raw fleeces in nuno felt accessories + Eco print.
July 21-23

 

 

INFO: viltess@gmail.com

 

P.S.

Based on inquiries we get, I have outlined main differences between 2 courses to make it easier for you to choose or just take both:

Beyond the surface - focuses on creating textures using fabric manipulation. We will also go deep into how to construct a garment, different wool lay out techniques, shrinkage, constructing of the pattern. Irit will teach eco printing and dyeing, and she will focus more on dyeing fabrics and nuno felt.
Second workshop - Wild fibers - focuses on creating textures using raw fleeces + fiber manipulation, which is different than fabric manipulation in the first course. We will create our own fabric from raw fibers and will learn how to give it dimension and combine with all texture from fleece. I will show how to make very light felt with fleeces, but will also cover how to make it thick if preferred. We will not go deep into pattern making and construction in this workshop, it's just for an accessory but completely different materials and techniques than the first one. Irit will also teach eco print and dyeing, but here she will also focus on dyeing raw fleece and fibers (fabrics and felt as well).

 

You can read some information about these courses in Russian here

Or take a peek to a space the workshop will be held at here

The Wool Lab–trends for Summer 2013

It was really an honor to collaborate with the Wool Lab company in their trends booklet for Spring Summer 2013, - a guide to the best wool fabrics and yarns in the world. My pieces were chosen for one of the trends named PURE.

One of the most important things is to bring inspiration to people’s hearts. Isn’t it?

 

Everything it takes. A moment of now

Felt is what brings me to different places of this world. And every journey brings not just the wonders of the nature, but brings me meetings. With many different people who give you a gift of communication. And no matter if there are negative or positive energies in the relation, it’s always one of the most interesting aspects of travelling. There’s always a message, a lesson, a point for your own evolvement in any human encounter and relation.

Though I am still giving classes in Australia, I wanted to mention some little things about one of these meetings, one person in particular. And that’s Wendy Bailye – feltmaker and organizer of my workshop in Queensland. I’ve received so many gifts of communication with her that it will take lot’s of time to go through that all in my mind and heart. One of the biggest gifts she gave me was not just making business of all this relation, but making it so human, so personal, so full of attention. Because…at the end…it’s all that matters.

Wendy is the person who is capable to accept people the way they are, and give the best of her to them. It seems to be such a simple philosophy to really live, feel and experience now and make that now pleasant and good, but actually it’s a very powerful tool in one’s mind that makes a big difference. And she applies it to all the things she does during her day – if it’s learning process – make it feel good, if it’s having lunch – have pleasure doing that, make it lovely, now, not later – and just because it is your life, now, at this moment, not later, you don’t stop from life, don’t make a break because you work or because you come to learn, this is your life – now. And when you think of it, it changes so much. And it empowers the strength of human being relationship…

It wasn’t just me who was blessed with such attention of Wendy and her wonderful family, I think the students in her studio felt the same and were surrounded by her attention and care. They did feel valued and important, it was not just business as it happens in this world quite often. It was human relation that was put above everything at all.

So if you ever happen to be in Queensland and start looking for felting classes, I think that Wendy’s studio is the best place you can actually find yourself in and experience this total focus on human connection while you do your exploration of felt.

Wendy’s studio

Through Wendy I also found a lot of wisdom from the poet she shared with me – David Whyte…

“Sometimes it takes darkness and the sweet
confinement of your aloneness
to learn
anything or anyone
that does not bring you alive
is too small for you.”
― David Whyte

P.S. There were photos for this post as well, but due to extremely bad internet connection here in Tasmania, I can not upload anything now... So this post is going to be updated.

A view from above

 

my landscape

 

“I still can’t find any better definition for the word Art, than this. Nature, Reality, Truth, but with a significance, a conception, and a character which the artist brings out in it and to which he gives expression, which he disentangles and makes free”. (Vincent van Gogh)

 

P.S. I found this quotation in a book “Abstract Earth. A View from Above” by Richard Woldendorp – a collection of photographs of Australian landscapes. The book was a gift from a wonderful feltmakers’ group FeltWest in Perth where I was giving workshops. I was doing a slide show on the first night there and shared my passion for landscapes that I create in felt, and they were good listeners – gave me a most wonderful book of landscapes that will be my big inspiration when I return.

To dye for

It’s been really a busy time preparing for my trip to Australia this March to give workshops. In a meantime I managed to give 2 more workshops in Moscow and had real pleasure seeing the students create wonderful things from the wild fibers.

I also opened a real herbal lab in our apartment with lot’s of natural dyeing taking place. And found a beautiful quotation about natural dyes to continue the theme of the natural over the synthetic colours:

“One of the key reasons why natural colors look better than chemical colors because they are not 'pure' color: a natural red, for example, will include blue and yellow, whereas a chemical red will only contain red pigment. The impurities of natural dyes, which may comprise from five to 25 percent of the dye, consist of other hues that are similar to the main one, and it is these mixtures that make natural dyes so beautiful and create their harmony with neighboring natural colors. Where one person will see some purple in a hank of gray yarn, another may see some blue in it. To be able to see the difference is partly genetic, like the ability to curl one's tongue lengthwise, and partly a matter of experience. On the other hand, evenness of a synthetically dyed carpet is flat and uninteresting. Natural dye, precisely because of its unevenness, makes color vibrate or sparkle. And for some people this "imperfection," a sign of the artist's hand working natural substances from the garden or fields, has spiritual overtones.” (AzerbaijanRugs)

 

Some of my natural colours drying and waiting to be felted in. A real burst of colours, longing for Spring?..

Project: Repurpose

Almost two years ago one of my clients was so excited contacting me, and she had an idea… She wanted me to repurpose her wedding dress that was sitting in the box for years. I think her excitement simply infected me and I said yes to her, let’s try this.

So the dress made its way to me over Atlantic. When I opened the big box, I had ambiguous feelings – fear to take the dress apart, excitement to repurpose it and…worry when I saw it was all synthetic and not silk as my client thought of it.

I don’t usually use anything synthetic in my pieces or projects, I don’t feel connected with the synthetics. And especially having to combine it with the natural materials… The other problem was that most of the fabric of the dress was not suitable for felting at all.

As the excitement and enthusiasm of the first moments faded away, I understood I could do nothing unless I build a connection with this fabric. I needed it to speak to me. There were dozen of times when I took it to my hands and then put it away. I took it apart, carded some fabric into fibers, and removed the embellishments to be felted on something I still didn’t know what. I was lucky to have such a wonderful client who understood my creative process and was ready to wait even for a year or more.

Concentrating my thoughts on my client, opened up my mind. Though the fabric was synthetic, it was a part of my clients image some years ago – I was sure this dress was soaking in most positive feelings, love and adoration during those times when my client was marrying a man she loved. It wasn’t just a piece of polyester to her. This was the point where the fabric could speak to me and I could listen. My work began.

It wasn’t all about felting, just a few pieces, it was more of interpretation in textiles. I applied several techniques and thought a lot about colors. I was sure the colors should be softening the feeling of synthetics and should be something that would look worth of a woman whatever her age would be. As the woman who decided to repurpose her wedding dress wants to cherish the things made of it for years or maybe a lifetime.

 

And…the best reward for this “communication” with the dress was my clients reaction – she loved every single piece. And I hope she is going to cherish it for years.

Furry trends in couture and feltmaking

It seems that furry looks have never been that much in fashion as this Fall. I’ve already talked about this trend last year, mentioning collection of Chanel. But it seems that the furry trend reached its peak just this Fall – when you look at the styles showed in so many fashion magazines, when you look at what many shops have to offer this Fall – there’s so much of furry looks. And when you look at the runway for this Fall, for example Sarah Burton for Alexander McQueen, you see very soft furry collections. Just one idea keeps turning on my mind when looking at it – she could have that much successfully used felt from alpaca rather than fur and would have got very similar looks, just more eco-friendly and cruelty free. And that’s why I feel even more proud for Josephus Thimister, who let this furry trend appear on the runway using the craft of felt making (my felt pieces for Josephus Thimister Fall/Winter 2011-2012 collection could be seen here).

my nuno felt coat with alpaca fleece

 

alpaca fleece in nuno felt

Books

There were couple of books on feltmaking published recently that included images of my felt pieces as well.

One was a very big project I would say - “500 Felt Objects” published by Lark Books.

 

First it strikes you with the versatility of what the felt can be – it is really an enormous collection of various felt pieces in different forms – from tiny crafts to art objects. Endless applications and the most diverse techniques that one ever dreamt of fulfilling or would be so much surprised to discover in this book.

 

  My "Wild Pigeon" in "500 Felt Objects"

 

 

  My "Iris Wattii" in "500 Felt Objects"

 

 

The other thing that strikes you is when you think that all of these works were collected for review in the very beginning of 2010, i.e. almost 2 years ago, and then you think what big path all those feltmakers have already travelled in their creative expressions since that time and how astonishing it must be to see all of their works at this moment.

It’s a beautiful gallery book for people who are interested in felt as a textile medium. The idea of the book was great though there are still some weaker points in its materialization I believe. The idea, design, format, and publishing claim for a solid and solemn publication, though some photos do surprise you in the lack of simplest quality and higher class of presentation of the object. And I am not speaking of the tastes here as they differ so much individually. The other thing that might surprise a person who has a better knowledge of feltmakers’ world already is the criteria the curator chose some photos of a particular author to be published. Some of them don’t really reveal the spirit of the author at all (e.g. the only yellow carpet by Claudy Jongstra and purses of Agostina Zwilling). This makes you doubt if there was enough of time for the publishers to really examine the submitted images and review the authors or maybe a little drop of energy and enthusiasm in bringing the idea to life.

Despite these two little things I felt like mentioning, it is really the book what its title says it to be – 500 Felt Objects. Creative Explorations of a Remarkable Material. A material to be discovered and explored. And get inspired! And a quite true reflection of the felt making world in present times.

 

The second book I was going to mention is written by a Russian author Ксения Шинковская - "Войлок" (“Felt”) – a little encyclopedia of many various techniques used in feltmaking. A very eclectic and informative book that included several images of my felt pieces that you can see on my Facebook page.

Becoming a character

I like to intimate the stories with my felt and the way I take photos with it. And I liked the idea of someone else continuing these stories from my photos when Lyse whom I met on Etsy asked me if she could use some of my photos for her creative works in her Imaginary World – ImagineStudio.

That’s how me with my felts became a character – Girl with the Golden Earing

…Homage to Claudel
 

The Wave