My Egg. Do not Sit

My Egg. Do not Sit. 

A sculpture in International Exhibition

My Egg. Held by a Male.
Photo: Ivaylo Petrov

One of my sculptures: My Egg. Do not Sit! is going to an international exhibition in Finland.

The work is a textile sculpture of a human egg in the process of fertilisation. It contributes to the debate about ownership, choice and human rights. Who owns a woman’s egg? The complex multi-layered textile sculpture is informed by a microscopic photo of a human egg. It is built through both solid and hollow shapes that are intertwined together. The sculpture uses warm colours associated with beginnings and round shapes both as negative and positive spaces and shapes in various textile making methods: shibori, lace, nunofelt and solid felt. Colour, shape and method unite to further emphasise the depth and complexity of the arguments the piece embodies. The artist’s stance is expressed in the mount. It looks like a vessel, in this case- a chair, but the artist’s instructions are clear. It is mine and I do not give you my consent to use it in this way. It is Not Your Vessel. The owner has expressed their desire. It is also made delicately so that you cannot actually sit on it. You will break it if you do.

Still, the choice stays with you.

The choice of materials in developing the piece was also reflective of the complex history that women have with reproduction and birth. It is a considered selection of merino wool, silk fibres, the staple of any felting texture. Then in the nuno felt I have embodied knit mohair from a friend that knits many wraps for new mums. and vintage silk from my grandmother as well as Russian silk from mum who had experience a really scary childbirth with me. There is Blueface Leicester fibres as they are the foundation and ever lasting presence in all my core work. And a bit of a raw and hairy fibre from a the dog of a friend. She shared with me a story of her miscarriage and I asked her if it would be ok to use the fibre from her best friend , her dog.  And as it is always in this situations I have used a handful of fibres that are from a sheep whose name I know and whose owner is a friend of mine.

The piece looked impossible to make as with its complex structure took a while to digest from the microscopic photos I have seen to the 3d object I have developed. I have tried it in several sizes and also experimented with various ways to incorporate the complex shapes and textures. It took half an year to develop the prototype. And I have discussed it with several mentors.

Please note that in the next photo I am wearing the One Hat. The one hat always come out when we are at a cross roads and need to make a hard choice. A choice that might make us grow out of our comfort zone or our understanding of what is right to us, might not be right to others.

Pulling Fibres
Photo: Simon O'Pappon

The most insightful conversation was with Marjolein Dallinga who gave me a generous insight into the connection between fibre authenticity and structure.

I have also discussed it with Brigitta Varadi at its early development as I needed insight of developing a mounting that would reflect the message consistently.

The positive and insightful feedback that I have received from my mentors enabled me to work further in the direction of creating the work.

The exhibition is a collaboration between Feltmakers Ireland and Finnish Feltmakers Association.

The call out was for ‘A touch of Red’ pieces that interpret the colour or the concept in the pieces developed for consideration of the judging panel.

The exhibition runs from 1st July to 4th in Jämsä, Finland

The gallery is an old bank building overt two floors in the town centre.

Feltmakers Ireland is the national organization with members throughout Ireland. It supports work in felt to both amateur and professional crafts people.

My Egg. Held by me
Photographer: Beta Bagjgart

I was so glad that my work was selected for this exhibition- it is such a core story in my practice.

Martenitsa

Happy 1st March !

Every year, it is a Bulgarian tradition on the 1st of March, the month marking the spring awakening, to adorn our chests with a red & white wool brooch, which we Bulgarians call martenitsa. Through the centuries this art, but a handful of wool, has been handcrafted in various forms and shapes, but always using red & white wool. The white represents our wish for long life and the red our wish for good health. Martenitsa is not just a strong symbol of Bulgarian identity,but has become part of Unesco heritage. It is invariably one of the first presents that we share with friends of Bulgaria. As Irish would have it, there is an Irish story about martenitsa. It is a love story.

The Artist’s Take

The art pieces look into the science of love; endorphins and dopamine are first released by those who click. In the Bulgarian tradition of martenitsa-making, the white represents the female hence Svetlana has a white cape and carries a hat sculptured with white blood cells. Arnie wears a hat sculptured with red blood cells and has a red cape. Their hands are connected by a long piece of rope which is a sculpture of endorphins. The inspiration for the art pieces in this look comes from the pursuit of understanding love at first sight an intricate connection that bursts in a moment and could last a lifetime.

Svetlana and Arnie Hensman

The Hensman family lives in Dublin and have three children and two cats. They have been married for 15 years. Arnie‘s dad is American and his mum is Irish. Svetlana, originally from Varna, Bulgaria came here almost 20 years ago to pursue an academic career. Their first connection was when Svetlana gave Arnie a martentitsa on the 1st of March. At their wedding reception, Arnie had a word of caution to all guests: ‘‘If a Bulgarian girl gives you a matrenitsa, be warned that you might end up getting hitched one day. Just like us!’’ Svetlana, Arnie and their children Daniela, Christopher and Alex all celebrate Martenitsa Day by giving martenitsa-making workshops in the children’s school. Perhaps it is in the hope that there is another couple somewhere that might find their own love by such an exchange.

Celebrations

The work profiles the evolving make up of a community through geographical, cultural and personal change. The artistic conversation is how festivals and customs reflect and manifest this.

The models in each visual narrative are authentic members of the Bulgarian community. They are selected on the basis of their personal connection to a festival, holiday or custom.

For each scene the artwork in felt is purposely created by Niki to reflect the message about growth, change and strength which is connecting to others. It is a research into what shifts our personal and collective boundaries of empathy, acceptance and strength.

This is a collaborative project between Niki Collier- an award winning visual artist and designer based in Dublin and Ivaylo Petrov a photographer from the Bulgarian community based in Kildare.