This triggered my tribute to the inhabitants of St. It was an exceptional culture and craftsmanship with the best tweed in the world. This ended 2000 years of unique autarchic habitation. There were plans to convert the island into a naval base, which in the end did not happen. Instead of helping the population with medicine and communication, the British government evacuated everyone. It was hardly accessible due to harsh weather conditions and tempestuous tides. In the Thirties of the last century there was an outbreak of the flue on the remote island St. I realized at that moment that this would be my choice of materials. Kilda (2013) that it dawned upon me that I could get my message across with photography and drawing, and that I could go next level with textile and thread. I think it was in the making of my work Children of St. Is there a work or series that marked a turning point in your professional development? Can you talk about it? Researching and combining materials to invent my own techniques is key, and it is an essential part of my work. Time is essential to the artistic value of my work, but the time it takes to create the work is considerable. Automated techniques like weaving or tufting mean loss of texture, color or looseness. But the critical issue in my work is time. I avoid mainstream techniques like cross-stitching and embroidering, but I try to create depth with threads, through direction and radiance. “A medieval monk in the 23rd century.” The old in a new form. Working on, and embroidering such a large canvas is very time-consuming. As soon as my sketch has been materialized on canvas, I can start choosing my materials. Then I will compose an image digitally, explore forms and colors, and work out the dimensions. The theme of the tourist exploitation of the Poles in the Arctic Charade series, gender discrimination, a topic addressed in the Fighting Women series, are just one example of how the artist, through large canvases embroidered with vibrant yarns, wool, nylon, silk, sequins and paint, addresses topical social and political issues, with a seemingly light vein, a lively atmosphere, which becomes the medium for conveying sometimes difficult ideas and concepts.Īre there critical issues, important difficulties that you face as an artist?Ī difficult question. The message, the narrative, are the indispensable elements of her research. In 2014 Wolzak finally decided to devote herself exclusively to her own art. Numerous professional experiences have seen her engaged as a furniture designer, stylist for photographers, illustrator for websites and editorial products, and jewelry creator. Preta Wolzak, a Dutch artist born in 1976, studied monumental design at the Gerrit Rietveld Academy in Amsterdam, the city where she currently lives and works. Big Embroidery 150 x 120 cm, copyright Preta Wolzak People with the yellow ear #10: 33% Iranian 33% Spanish 34% Mozambican. People with the yellow ear #9: this man is composed 33% Kenian 33% Sicilian 34% Canadian. *Feathured photo: People With The Yellow Ear 9 and 10 with the artist.
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