AD HALLOWEEN VESTITI DI LIBRI PERCHE’ LA CULTURA
A MOLTI FA ANCORA PAURA
Finalmente riusciamo a vedere un pannello intero….(di dieci pannelli).
VENEZIA 3000 rappresenta un possibile scenario di come i DAMSS interpretano l’evoluzione ambientale della laguna veneta per salvare questa prezioso e unico patrimonio dell’umanità.
Il pannello è composto da sette moduli, pari ad oltre 45 metri quadrati, ed è stato interamente realizzato con materiale tessile elaborato e trasformato dalle usuali tecniche DAMSS.
When did you discover your love of textiles?Do you have a textile education?What are your professions?
We are two professionals in technical fields, Daniela in engineering and Marco in architecture. The planning phase is the core of our creation; it is the starting point of the fusion of our feelings towards the work in progress.
How did your partnership come about? How long have you been working together?
Many years ago, after working separately for a number of years, in 2000 we decided to blend our individual art into a common artistic expression. From that point on, we began to work exclusively on joint projects, synergising to express our art in a single creation.
Men are still quite rare in textile arts. What attracted you to textiles, Marco?
Personally I know a lot of techniques of mechanical processing, metal, glass, plastic, welding, painting, gyps and resins etc.When I saw Daniela express herself with fabric work, I caught the great artistic potential, because the expressive technique we have selected for our artworks requires a constant engagement and continuous research.
You aim to use art to promote industrial textile recycling. Could you tell us more about that?
We engage ourselves in regenerating and increasing the value of discarded materials and textiles, by taking into consideration their unique intrinsic expressive qualities, and by detailed experimentation of fabric manipulation to realise our intended goal. The result is surprising as the discarded material is manipulated and treated to eliminate the patina it assumes a new aesthetic role. The ethical aspect of recycling is an additional benefit of this procedure.
Do you plan your art works by making design drawings or does it just grow?
Our process of work has no secrets. On the contrary, we share our knowledge and experience with many people as an example of cooperation and team spirit during courses interviews and meetings. We like the visitor to lose themselves into the minute details of our working processes, to discover and appreciate them step by step.Many months of work are needed to realize large textile panels. Whenever starting a new project, we first agree upon the topic of the composition, define the expected result, plan the project via computer graphics, which has become an essential part of the creation. The design takes many hours and even days depending on its intricacy. Due to the size of our most recent works, we divide the final composition into large sections. The full-size images are then printed on canvas and used as the template for our creationWhen fabricating a fiber-art installation, the process is different. Based on a bidimensional design, we fabricate a scale model from which we make our plans for constructing a solid and safe structure. The fiber and textile materials can then be selected, procured and created ready for installation, which will occur on site.
What inspires you?
The expressive technique we have selected for our artworks requires a constant engagement and continuous research: we use textiles by sewing them together as though we were painting on a canvas.The Impressionists’ techniques have been scrutinised. Our methods derive from in-depth analysis of their brush strokes and their way of holding the brush, the characteristics of their colours and study of subjects. The Impressionists’ brushes, with their short, hard hairs, squared and compact, without pointed end, leave rectangles and squares of colours on the canvas which allows them to form an image with pebbles of colours overlapping and lying next to each other, in the manner of a mosaic.The sum of the coloured strokes left by the brush, held at its extremity, leaves an intentional imprecise sign, merging perfectly from a distance. The painter’s brush held as a dagger generates a creative disorder caused by its oscillating movement, giving the appearance of being out-of-focus at close range and yet perfectly focused when viewed from a distance. The use of the painter’s brush with long handle is needed to provide the appearance of the distant view. The artist can add a touch of colour and immediately see its effect, without continuously moving back and forth to check the result.We have simulated that painter’s brush touch, to obtain less detailed design and more out-of-focus images.
How do you work? Could you describe the creation of an artwork from the first idea to its completion?
We are not linked to a specific theme, but our background as architect and engineer contribute to the selection of our topics. Our projects start from an idea which one of us feels. We discuss it, we share our thoughts on how to develop the theme, until we reach a common understanding of what we wish to create.
Once we have completed the computer graphics, the planning of priorities and listing the required steps, the practical stage begins. Each of us selects the area of the picture, the detailed work to be performed. At the final stage of the individual work, the results are exchanged so that each of us intervenes to enhance each others work.
Which techniques are you using? Do you both use all techniques equally or does one of you prefer special techniques?
It is practically impossible to define the paternity of the stitches within our works, because they are mixed in such a manner as to define our common style.
The sewing method we most frequently use allows us to leave more colour differentiation in our artworks and to “paint” with both textile and thread. We dedicated our efforts to the relationship between “how to make the work” and the “final outcome”, so that it results in those coloured touches that create continuous movement within the structure of the “painting” as presented in our artwork.
I do like your textile self portraits, they are like a fashion show. Tell me how they came about.
Each piece is unique within its own theme. Within a theme there may be multiple representations of the same subject, each of them individual and unique works which contribute to enhance its details.
These artworks, a total of twelve pieces, reproduce us portrayed larger than life in extravagant costumes. The figures create photographic impressions in which subjects pose in a daring manner displaying their costumes partly inspired by the fantasy world of Hollywood (the Van-pire), and the TV series (The A-DAMS family).
These MYTHS represent escape through extreme dreams to the limits of absurdity, which are essential means of mental detoxification from the confines of daily life; forced escape from a world which does not seem to belong to anyone, an imposed “system” impossible to avoid.
After this experience we started designing and making sculptural clothes according to our specific design.
Do you think textile art is getting the recognition it deserves?
Our path is already taken, there is no doubt. We should continue to pursuing fiber-art, because we believe in the future of fiberart.