by Dienke Dekker
“Intersect” is a series of studies in three-dimensional, sculptural weaving. Its sculptures emerged intuitively by applying and combining different weaving techniques. Interacting with a multitude of colours and patterns, abstracted forms are created onto which spectators are invited to project meaning.
Each sculpture started out as a sheet of 1-meter-long heavy paper, both sides of which are painted in different ways and rhythms with gouache, acrylic paint, acrylic marker, arcier or ballpen. The sheets were then cut into strips of one meter of varying width and used as yarns for the woven sculptures.
This project is based on “Union of striped yarns”, a project in which Dienke created a variety of flat-woven pieces using striped yarns. Fascinated by the intriguing patterns which appear by using only striped yarn, she decided to investigate the patterns of “yarns” in hexagonal and 3-dimensional weaves. As a result, the new study – “Intersect” – has a stronger focus on the interaction of colour, patterns and weaving techniques.
The combination of a looser basket weave in the bottom and centre and a denser flat weave toward the top seems to make Legan levitate. The reduced use of colour – a block pattern on one side of the yarns and a gradient on the other – emphasises those differences in density.
At one point, Patsula’s underlying flat weave gains a third dimension. Whereas before the leftover yarns have been folded by 90 degrees back into one another, they are suddenly left to end at free will, creating a hollow shape.
By folding the horizontal yarns to the front and securing them with vertical yarns in a 90-degree angle, a flat weave can take three-dimensional shapes. Tomet features various such ornaments. If you inspect it more closely, you will also find that the lines on Tomet’s yarns come together in various places to create squares with unique patterns.
Tanma gains a natural dynamic through its curling borders. This effect is created by weaving curved yarns into the fringes of a flat hexagonal weave. One of Tanma’s sides is marked by a multitude of colours and striped patterns, the other by fewer, but starker colour contrasts.
Unlike many of the other Intersects, Derig’s shape is determined more by the stripes of the yarn than the weaving technique: The folds follow the encounters of identical colours in the flat weave. Depending on the position of the spectator, different patterns emerge in the sculpture.
Lannert / Lylej
Lannert’s and Lylej’s hollow bodies are created by round flat weaves of varying widths. While Lannert’s coloured yarns are arranged to appear lighter toward the bottom, Lylej’s striped yarns are woven so that a variety of shapes emerges.
Pictures by Henri Verhoef
Project is made in collaboration with DUTCH INVERTUALS