Tell me a little bit about you!
Hi! This year I am in Paris. I lived for 3 years in London (where I studied at Central Saint Martins, learning weaving). I graduated and was accepted to Royal College of Arts (for MA). Otherwise, I am doing a break year to work for myself and have applied to residencies in London and New York.
I did an art foundation in Paris and art class evening at Les Beaux Arts de Paris, then CSM textile design. It has been a very good experience. I really enjoyed London for the atmosphere, mood, challenge and people. I feel that Paris is a bit more conservative. I can’t wait to start this new year, as I develop a “bizarre” practice between weaving, scanning, and painting. I am passionate about it, and think that this practice, which is “historical,” is also super modern with the new technology.
I have exhibited my work in Paris, London, and Brussels, which was very good. Most people think that I am first a designer because they don’t really know textile, but I think there is a thin link between art and design in my art. I am also working with glass (with craftsmen in a workshop, it is totally new but very interesting, to mix textile and glass, for example).
When did you first discover art, or realize you wanted to make it yourself?
I discovered art when I was young, at about maybe 4. I painted quite a lot and cut into fabrics. I was obsessed with fabrics without knowing why. I think it was surprising.
I love when I discover different cultures, heritages, people, genders — when there are surprising and strong mixes.
I have to say, that I apologize for my mistakes in English, as I am dyslexic and have dyspraxia. And it is not always easy for me. But with this discovery about myself I also understood myself better. Weaving is the writing (etymologically speaking), and without knowing anything about that, I can say that I am intuitive, and I think weaving is my own language, an action to transcribe my thoughts, my stories and messages.
When I did my art foundation, I used a lot of patterns and I worked with brands such as Celine or Mugler. But I was more interesting to explore something unique, which is not going into the industry market. I started working with galleries and I found my place in this atmosphere.
What ideas are you exploring in your practice?
I am currently exploring the concept of extreme consumption. I transcribe it by paintings, or photographs (of the accumulation of the fabrics).
I weave paper yarns. Fragile, white, neutral — and I print on the top of my woven pieces.
The technique is the sublimation. It is quite rare, but it is the print technique used by the big fashion industry to print quickly and easily. I mix all these techniques, between old and new techniques, representing the modern/consumption society and the “savoir-faire”/heritage/craftmanship of our culture.
I am weaving with my own loom in wood (it is very beautiful).
I believe that my practice has evolved since the beginning, I learned about the yarns, fabrics, materials. I also think it is more minimalist and simple.
What is your process like?
I do a lot of research. I studied art history, and I am going to exhibitions quite often. I draw and plan all my woven pieces. I have a process of tests where I scan, do collages, mix colors.
I read also a lot of books, and at this moment I am reading Romain Gary “La Promesse de l’Aube”, Claire Berest “Gabrielle”, and Sophie Calle “Fantomes”. I think it is very inspiring to go into different stories! Sometimes, if I find a piece of the book that I like, or a sentence, I try to represent it abstractly.
To weave, I have to buy my paper yarn in England and Austria; then when I have the coils, I make by hand the warp to put in the loom. I can start weaving when I put perfectly and precisely every thread. At this moment I am weaving 80 cm wide in the loom, which is the maximum. For my warp I need 300 threads.
I like weaving, I think it is physical to weave. The work make sense with both foot and hands/arms. It is all in the body to make my work. It is a big process and technique where I love to go deeper to discover new patterns, techniques, and yarn combinations.
Do you have a mentor, or a piece of advice (or both), which has influenced your practice?
I met Brent Wadden and Sheila Hicks, (both artists making weave) who are very nice people, and gave me good advice. Brent told me to do a break for this year, and make work for me, before doing my MA, to continue my practice. Sheila was very good too, and told me to continue; I showed her my work, and she gave me advice. Both meetings where very helpful and rich for me.
I met Claude Viallat who supported me for different references. I love the support/surface movement which is very contemporary and simple/archaic.
Describe your studio.
I am working in the center of Paris. I am working alone as I didn’t want to share a space with a painter. And I didn’t find anyone who weaves. I quite like to be alone with my loom and my yarns. I listen to a lot music (Etienne Daho, Paradis, La Femme, David Bowie, Serge Gainsbourg or totally different classic music). I also listen the radio with podcasts on artists, film maker, singers…
What do you find most daunting, challenging, or frustrating about pursuing art?
Very interesting question. I am reading this book also at this moment “Requins, caniches et autres mystificateurs” by Jean Gabriel Fredet, which is “Sharks, poodles and other mystifiers”. This book describes the art market with many details, going from Koons to Hirst, from Gagosian to Pace… I think it is so much more easier to be an artist nowadays, otherwhise the art market is quite hard, it is about millions or more…
The social media is a big thing today; you can communicate a lot with it. Even if at this moment I am based in Paris, I can sell to a collector in NY using my Instagram account. It is crazy when I think about. But we have to understand the process. We have to trust ourselves a lot too and not be shy. It is the reality today, it is easier, quicker… It is also a concept that I want to describe in my work. It is a challenge!
If you could sit down for dinner or a drink with anyone, who would it be and what would you chat about?
It is a funny question — he died, but I would love to have had dinner with Pierre Restany, a philosopher and art writer. I would love to know where he could find his inspiration. I read most of his books and I always discovered something, and he spoke a lot of movements, cultures, and artists. I think that could be amazing to know some details that he couldn’t write on his book, but that he could say (like some secrets). I read several times the book that he wrote about Alberto Giacometti. It is about his workshop. I always liked it because I felt the power of the texts linked to the pictures of his workshop. I would love to know what were the feelings of Restany when he met Giacometti and visited his workshop.
What are three words you would use to describe your work?
How does it feel to be in a good creative mode?
I think when I feel inspired I have to work a lot at that moment. I also smoke a lot at the same time. It is exciting; you have a goal and it is the moment to develop it. At this moment, I am developing a new series of weaving with print. It is unique and I am working a lot on it.
What do you love most about your medium? What challenges or surprises you most about it?
I really like the fact that I am constantly researching, because I mix different sources and mediums. I also like when people don’t understand the final piece; it is questioning and that is good! It creates something that you would like to develop.
I think one of the biggest challenges is TIME!
Weaving is time-consuming and dense. You have to be constantly careful to succeed. Even the choice of materials is difficult. When I came back in September in Paris, it took me 3 months to find my material (yarn) and the printer/workshop.
I am also surprise about the results. When I put my weaving in the heat press (200 degres in 1 minute), the print on the paper is always a surprise — it is almost magic. I love the effect which is procured in myself.
What do you need or value most as an artist?
At this moment, I meet a lot of different people who support me. We are both confident in each other. (They are art collectors or curators). I absolutely don’t want to disappoint people where I start working with them. It is a big work but I think artists need some good people, like “pillars” who trust in one another.
What keeps you creating?
What are you working on right now?
I am working on different woven pieces in paper where I print on top.
I am planning to come in London, in January to show to curators my new work, and Copenhagen in March, and NY in April.
I don’t know NY, but I am taking this break year to take the time to develop my contacts and meet new curators. It is always interesting to meet new people.
It was the case when I went to Morocco last summer, I met the families, the women who create berbere rugs in the mountains (Atlas). This trip was amazing, I think it was the best that I lived!
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