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“Standing Textile(s)” are built up, thread by thread, on a custom-made weaving loom. 3D-woven configurations are experimentally discovered on the spot, creating intriguing tactile volumes. The lack of support and hollowness might make them seem on the edge of breaking, but their open structures are strong and sturdy.
This new method of weaving allows for endless possibilities in shape, use of colour, and material and, therefore, in application. From brightly coloured, recycled plastic dividing walls to sound reducing lamps from paper yarn.
“Standing Textile(s)” arose from an experimental textile research, driven by the desire to bring textile into the interior in a different way than we are used to. The research consciously awards the value of artisanal textile production techniques, explores its unseen possibilities, and questions the use of textiles today.
Recycled PET, Rubber
Fransje Gimbrère is a multidisciplinary designer and art director, born and raised in Tilburg, the textile city of The Netherlands, and graduated in 2017 from the Design Academy in Eindhoven with her ‘Standing Textile(s)’.
Her concepts and designs are a playful combination of function and fantasy.
Fransje creates the remarkable, by playing with perception, identity, and visual presentation.
She challenges the way we look at things and stimulates the imagination.
Through engineering material behaviour and manipulating image and shape
she shows surprising possibilities and new interpretations that lure you in.
Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process.
This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency.
For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.
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