’Layers of Stone’ is a series of mono-prints in negative made from different parts of a handwoven textile. The prints are in negative meaning that the entirety of the paper is covered in black ink except for the parts where the textile has been laying.
The work ‘Layers of Traces’ consists of ceramic sculptures in various sizes with imprints of a handwoven textile. The sculptures are shaped like vessels and are executed in unburned clay, fired clay and glazed stoneware.
Layers of Memory
Lay down on layers of earth, layers of dust, layers of sand, layers of peat, layers of roots, layers of clay, layers of decay, layers of minerals, layers of gas, layers of oil, layers of waste, layers of water, layers of stone, layers of bone, layers of bodies, layers of memory, layers of guilt, layers of ash, layers of magma, layers of heat, layers of snow, layers of ice, layers of darkness, layers of shadow, layers of ghosts, layers of secrets, layers of death, layers of history, layers of footprints, layers of traces, layers of thread, layers of time.
‘Layers of Traces’, ‘Layers of Stone’ and ‘Layers of Memory’ are three separate works made with traces of textiles. The works consist of prints made in negative, like a shadow of textiles that are now absent, ceramic sculptures covered in imprints of textile and a text on the wall in square nylon letters like the interlacing grids of vertical and horizontal threads.
Textiles, usually made from fragile organic materials do not last long. Because of this we can often only access a secondary history, where the traces of textiles are caught in another material. Could this be part of the reason the history of textile and its creators, usually women, is often overlooked?
The inspiration behind these works are archaeological finds where residue of textiles and textile production are found in durable materials like pottery, tools and rusted metal adornments. For this project I specifically looked at Neolithic ceramic artefacts decorated with imprints of ropes and textiles (European Corded Ware culture), 20.000 year old negative impressions of perished fibre works from Dolní Věstonice (archaeological site in Czech Republic) and textile imprints found on metal tools and brooches from Danish Iron Age grave finds. In the works I look carefully at these traces and experiment with their role as witnesses to textiles that have over time decomposed and are now absent. With objects and prints the works reactivate the human gestures petrified in these traces.