As an artist, I create textile surfaces, which are usually presented in a framed or hanging form. In doing so, I examine my own influence on the creative process and the fragile interplay of the individual components.
My fabrics are woven on a hand loom, after first dyeing the warp threads. During the dyeing process I work with the dipping method or I paint the yarn with a brush. The yarn is then woven on the loom, where, by changing various parameters, I have a great deal of influence on the interplay of the threads. From single lines, a two-dimensional, but nevertheless organic community emerges, whose very nature is entirely different from that of its individual parts. The colour gradients created by the dyeing process typify the process of creation - how the lines merge into a surface. I dye the yarn before it is woven, because in this way the individuality of each thread is visually retained in the overall appearance of the surface. If I were to only dye the fabric as a surface, the warp and weft threads would blend into a single entity and thereby lose their individuality.
In my work, I am interested in the interplay of the threads and the implications of my manual intervention. I am a significant part of this creative process. The decisions I make for the material are ones I cannot later undo.
I leave traces behind, as if I were weaving a part of myself into it. The fabrics express the complexity, the dynamics, the change. The change to which I myself, with my state of mind, my physical condition and other, external influences am subject. These components directly affect how I influence the material. I as the filter of my environment, my fabric as a physical record, translating and materialising these impressions. I would like for viewers to see and feel this narrative, the interplay between myself and the material. Just like the poetry and beauty that are inherent in it.