En ensidig metervara med tryckta ränder har en tydlig fram resp baksida. En lång bit av tyget är klippt så att det delar sig i fem lika breda flikar, som sedan delats i sin tur delats i två upprepade gånger. De allt smalare flikarna består i allt färre antal ränder till dess bara en halv rand av varje färg återstår.
Flikarna har var och en vikts i 45-gradiga vinklar runt sin egen axel om och om igen, ständigt med den tryckta sidan ut. De ränder som är synliga på framsidan av tyget behåller sin position i ursprungsmönstret men på baksidan lägger ränderna sig horisontellt. Genom att variera håll och riktningar på vridningarna allteftersom de smalnar av och blir fler, så kan de omväxlande hamna parallellt sida vid sida med varandra, överlappande varandra, eller särade från varandra så att mellanrumsformer av tomrum bildar ytterligare former. Allteftersom det ensidiga ursprungtyget delas och hanteras (viks) uppstår alltfler dimensioner, och lika mycket på styckets tidigare framsida som dess baksida.
Material: ensidigt tryckt metervara i bomull, påstrykbara snabbfållningsband på metervara
Storlek: bredd 104, höjd 136 cm
bilden är tagen på galleri Fiberspace under utställningen One side or the other (2020.02.06-2020.02.29)
A textile is never one-sided. It has a backside, a materiality and several dimensions. Inside the textile is the construction of bindings that brings one side to the other, locks in place and holds together. The construction itself can be seen as a metaphor for the fact that there is always another side to what we see and perceive. Every thread matters and has the possibility to change the whole construction. Repetitions clarifies and give character; something that could be useful, or alternatively, important to break.
One example of Katarina Brieditis’ point of departure is the knitted stitch that row after row binds itself, like a symbol of eternity. But so fragile. One dropped stitch and everything falls apart. The stitches build a textile where the back is dependent on the front. A two-sided coexistence, a “both-and”, different but equally true.
Repeat and unravel; a construction according to the principle of the stitches, but instead of yarn, Brieditis uses a flat material; a paper or piece of fabric in strips. The flat strips make the sides come closer together and the binding points where the stitches dive from one side to the other become clearer, more distinct. Due to the inelasticity of the flat bands, the meshes are transformed into stylised shapes – which together form patterns. She investigates how she can control the two-sided pattern images and develop them into new, two-sided textiles. At Fiberspace, Brieditis will, among other things, show that these patterns can change direction or become a reflection or negative of themselves on the different sides.
OCCUPATION?
Designer
WHAT DOES FIBER MEAN TO YOU?
A passion that works both as a link and a barrier between me and the surroundings,
i.e.nature, culture and other people.
WHAT IS YOUR FAVOURITE TEXTILE FIBER OR TECHNIQUE?
All natural fibers because of their unique qualities. But I love working with wool and its
malleability. While knitting it feels like the technique itself is an extension of my fingers
– and working with the knitted stitches is a source of endless inspiration.
WHAT IS YOUR MOST VIVID TEXTILE MEMORY?
I have experienced actual “Eureka”-moments when I have discovered new dimensions in
technical constructions and how to use them. And some sublime and wonderful moments
