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Borrowing its name from Greek myth, "Penelope" is a tribute to the power of love and the praxis of weaving.
I like to be the folly builder who is building a world stone after stone or tread after tread completely by hand. On show will be a large selection of design that uses innovative textile techniques, heralding the revival of textiles in our interiors.The world is a 3d carpet which is made with a mechanical tufting tool, the tool pushes loops of yarn trough a backing fabric. During the performance I am the sheep whose coat is growing by spending time eating.Each loop of yarn means one of my hand movements, the maker. During the performance I am a camouflaged creature, wearing a coat made out of the same materials as the environment. In the end, after a long time has passed, there will be nothing but a mountain of woolen fluff.Elegant silk is combined with other materials to add softness and resilience. A very good example of luxury where the process and the raw materials used to make the products are environmentally and socially responsible. We have those 304 MPs voting for David Cameron’s wish to renegotiate our relationship with the EU and put the results to a referendum no later than 2017.We have Theresa May announcing that she is going to demand a British opt-out from 133 EU regulations on law and order, but then apply to opt in again on 35 of them.While doing this, it has maintained the highest level of quality both in the manufacturing and the raw materials used to create their woven pieces.
Those products exude a quality which can be appreciated through the sense of touch, sight and smell.
The near future will see the overwhelming return of textiles in our interiors, covering floors, walls and furniture in an expansive and personal manner.
These textiles will speak loud and clear and become the fabrics of life, narrating stories, designing pattern, promoting well-being and reviving the act of weaving”. the press images here Download the press release here "Penelope", a recent exhibition by Tatiana Blass, is a storied installation.
On the opposite side of the loom, the threads run wildly; a matrix of red yarn envelops the exterior gardens, further confounding our perception of space and place.
Merging the religious with the architectural and the enigmatic, Blass is deeply interested in “the abstract.” She conceals as much as she reveals, blending complex stories with elaborate textile creations.
Attached is a intricately woven, red carpet that extends to the courtyard; red, to signify both power and nobility, as recounted in Greek legend.