Going to China

7th International “From Lausanne to Beijing” Fiber Art Biennale Exhibition

Nantong City, Jiangsu Province, China

8 November to 15 December 2012

Through a very difficult time, that I considered “lost period” for my work, came out a few art pieces that I would keep. One of them is selected for this exhibition in China, where I am invited to attend the opening and the symposium that follows the next day. Half of the participants are Chinese, the rest from all over the world. I am already moved from the kindness of the organizers and the care they show to their exhibitors by being well on time with the documents and the information they need to provide. I am so looking forward to see the exhibition and meet these amazing textile artists…but first have to work on the travel…

“The power of leaves”, embroidery, 2012

2012: on track

The new year means battle in the streets of The Hague which starts in the morning of 31 December with junior crackers and ends late in the night after the year change with major noise and flame attacks. Smoke and  dust pass by the windows and fire residues cover all the flat surfaces. There are also casualties; eye injuries mostly, but sometimes arms and ears also fall. Half of the population can’t wait to fire up the year, the other half tries to ignore it.

For the new year, apart from the essentials, only one wish: to reset course, to avoid deviations more and more.

This concerns me personally but applies to all the new years of the last 20 years at least, more generally. I remember discussing with friends in the small studio at Erressou street in Athens, year 1995, how much our world had lost connection to its basis wandering off course and in purposeless bliss (or was it agony); maybe just an imprinted image from the science fiction series ‘Space 1999’, maybe just a clear look. Nevertheless, now with the financial crisis, many voices are heard describing the same, as a situation to reverse towards a solution. That brings to mind the anti-consumerism exercises, a game that amused me for years; very simply long visits to the market without buying anything at all. Later, the more my time was eaten up by irrelevant to my course duties, the more I felt the need to consume; mind in blur, strength shut down, submission. Never in excess though and quite reversible, believe me.

For our health’s sake let it be a reset year; 2012 on track.

Help someone, 2010, embroidery

mobilization

I learned to drive a car for the case that I would need to flee.  A wise thought for that time, which I dropped later as driving proved to be more dangerous than what I needed to save myself from. Then the car was burnt by angry people and I did not have to think about driving anymore. The mobilization of the people of the Arabic nations imposed a certain silence, out of respect. Words in the languages that I know became irrelevant; there was no time to learn the right sounds. So I put myself in mute and counted the days of their revolution with threads. The counting still goes on, heavier I fear.

a car in Egypt January 2011, embroidery on linnen
fire in Tunesia January 2011, embroidery on linnen
road in Tunesia January 2011, embroidery on linnen
gas to the people of Egypt January 2011, embroidery on linnen

Grandma and the Aunts*

At the beginning of the 70’s, in the centre of Athens, you could still park your car at the side of the street without a worry. You greeted your neighbours by their names and the shopkeepers would bring the groceries at home when needed; kyr-Yannis brought the vegetables, kyr-Dionysis the meat. The ‘nouveautées’ store ‘Miranda’ under our apartment had nearly all the rest; supermarkets did not exist yet. On the contrary, families still existed in their wider form and everyone had their function therein. Giagia (grandma) Aphroditi the Athenean, as the eldest member of our household had the sceptres of the kitchen. But, very often, more elderly women, aunt Thália, aunt Efrosyni, or even giagia Elpiniki from Ioannina, would enter the kitchen with rolled up sleeves and a recipe in the hand. They would make all kinds of pitas and cakes, each one giving them an own taste and shape. The talent and the drive of these women would not stop there. Cooking was only one of their talents; their craftwork was another one. Their hands were constantly busy with mixing ingredients or with arranging threads. As a kid, I could not perceive the point of all this commotion. In brief, who needed all these embroideries, crochets, bedcovers, tablecloths, and all the smaller or bigger decorated textile? Much later, when my busy aunts were long departed, I found myself in possession of a few handmade pieces which became the most valuable part of my household. In each handmade piece you can always see the personality of the maker; even more when you personally knew them and you have witnessed the process for years.

My mother, Athiná, was also a keen craftswoman. Although she had a job as a book keeper and her repertoire in the kitchen was suppressed under the dominance of grandma and the aunts, she found the time to produce a remarkable volume of textile, all handmade and perfect to the detail. The handworks of her generation mark the end of the tradition of homemade textiles; at least in Athens. The enormous changes in the daily life, in the family bonds and in the expectations of the people of the end of the 80’s and after, limited seriously the available time for concentrating on a complicated textile work or for making a complete meal for that matters. For me, skipping to the following era with our devises and electronic contacts, I felt like pushing a break when I started experimenting with textile. I would never be able to follow a pattern like my aunts did, but as a painter, I envision textiles produced with the experience of painting. I make expressionistic drawings on embroidery. In fact, I draw directly with threads on the woven material. Although my embroideries, as mirror picture of our turbulent times, carry the thread of uneasiness, the medium itself keeps the essence of a timeless moment, the room for uninterrupted thinking, and in the same time the continuity of an activity that passed from aunt to aunt.  Now I am part of  the process that I once witnessed and this ties me with the ideal big family of my childhood thoughts; moreover it weaves in my roots the idea of an artistic production without commercial goal and thus beyond price.

* A slightly different version of this text was published in the Dutch language magazine “Lychnari” no1-2011, under the title “De bezige tantes” (the busy aunts); it was accompanying a recipe for kolokythópita.

"Under my skin", embroidery, 2010