FIBRES & TEXTILES in Eastern Europe 2011, Vol. 19, No. 1 (84)
both hard-copies and on-line versions.Everyone draws from something, buthardly anyone would admit to it. Conse-quently, the characteristics which enableto dene the afliation of a given attitudeto a specic national school are gettingharder to notice. In the times of LausanneBiennial exhibitions, it was possible totell without doubt the origin of an art-work (or an artist), for example fromFrance, Japan, the United States, Scan-dinavia or Poland. Today the representa-tives of these countries are often artistswith origins of other countries (Poland isan exception here, the ow of immigrantsis still relatively low).As a practicing artist, I always look at theexhibitions of the Triennial in Łódź withan eye to searching for an excuse to playwith my own imagination. As a professor at the Faculty of Textile Art and FashionDesign at the Strzemiński Academy of Fine Arts in Łódź and also as a professor at the Faculty of Material Technologiesand Textile Design at the Technical Uni-versity of Łódź, I pay special attention tothe materials and ways of constructing anartwork. Such techniques, the denitionof which is easy to understand, do notneed any additional analysis, unless thereis something that suggests they should berevised.One of the criteria of describing an artexhibition most commonly used is thevirtue of novelty. In the case of textile artexhibitions, it is usually identied witha new way of using materials and tech-niques, rarely with the semantic contextof the artistic language applied i.e. sucha way of using a well-known materialwhich enables to perceive the reason for its application in a different way. As anexample we may use an artwork of theLithuanian artist Severija Incirauskaite-Kriauneviciene presented at the 13
Triennial, entitled “Way of roses” No.1, No.2 and No.3. The author used cottonthread as the material, cross-stitchingas the chosen technique, and as a back-ground for embroidering the title roses – car parts. Such a combination of meanssurprises, makes one ponder as well assearch for one’s own interpretations.The joy of introducing new surprising rawmaterials for the needs of artistic expres-sion is no longer sufcient in itself. Re- ports from textile art exhibitions presentlists of surprising materials, which, af-ter all, are applied only to create subse-quent, more or less decorative objects.Certainly, original materials are oftena magnet for a wider audience; the factof being photogenic makes them perfectfor promotions inserted into publications.However, in the most cases they are stillonly the objects of decorative functionsand hence do not acquire the qualitiesof artistic comment to the present times.Some may ask if they must? In my opin-ion, they at least should, but on the other hand, other attitudes are also valuable,one of which being the search for specialrelations between the artistic reason for acting and the technical opportunities of artistic expression. To make it clear, it isall about such artworks whose essenceis the fabric itself, being the eternal andautonomous phenomenon of human crea-tivity, that is, an object of textile art madefrom fabrics, a textile artwork which presents a fabric, or an artefact which ex-ceeds the limits of its own denition. Isit art for art’s sake? No. It is a eld for searching for new possibilities, seeds of novel technologies. A signicant role is played here by new materials, techniquesand tools. In the history of art, they often became an excuse to change the languageof art. As an example we may take theuse of such a device as camera obscuraor the use of oil in European paintingas a solvent for colour pigments whichenabled the revolutionary change in thequality of artistic expression. For artistsnowadays, maybe even more than ever before, science and technology opens upnew possibilities of observing reality andnew methods of relating to it. As the cam-era or microscope once opened the eyesof artists to the world seen through them,nowadays the new achievements of tech-nology allow to obtain images, processand save them as an unlimited source of artistic search, inspiration and technicalsolutions.Has the last Triennial given viewersmany examples of such novel solutions?This year I had the honour of being oneof the jury members
of this prestigiousevent. We, the members of the jury rather agreed that the repertoire of artistic ex- pression was not any richer in signicantnovelties comparing to previous editions.However, it does not mean that the artistsare not interested in the newest materi-als and technologies. Maybe we, as theviewers do not follow them well enough?Perhaps in recent years they have not been so numerous, or maybe there areinnovative solutions in artistic presenta-tions, but they do not catch the eye dueto the lack of hints given by the artists or the authors of catalogues. Contemporary
(Latvia) Meeting of World Torn Winds, 2007, owntechnique, bamboo, cotton – a coil of ribbon of nearly 1 m diameter, made by the author.The work might be associated with a ball of dry grass blown away by a desert wind.