Art group "Texts and textiles"
Lana Eryomina
Alexandra Fedorenko
Elena Kornilova
Mary & Vasilisa Cornilova
Olga Popovskaya
Marina Sazonenko
Natalia Suhareva
Elena eL. Sakovskaya
Marina Kuznetsova
Natalia Durich
Nina Kudyakova
Lyubov Basangova
Olesya Soboleva
Yulia Bazhenova
Ninel Kozlova
Sophia Umnova
Textile Piece Co-Creation
At the final lesson of the Texts and Textiles laboratory in the Nekrasovka library, a collective textile object was created — a large patchwork panel assembled from fragments of fabric, embroidery, applications and handwritten texts. The participants worked with the theme of connecting words and material: they turned phrases, personal statements, images and short stories into embroidered and sewn elements.
Each fragment of the panel retains the individual gesture of the author, but together they add up to a common visual text — a soft archival surface where the fabric becomes a way of conversation, memory and joint action. Different materials and techniques are used in the work: hand embroidery, patchwork, applique, lace, textile inserts and small images.
After the laboratory was completed, the panel was donated to the Nekrasovka Library as a memento of their collaboration and as an object created specifically for this space.
Each fragment of the panel retains the individual gesture of the author, but together they add up to a common visual text — a soft archival surface where the fabric becomes a way of conversation, memory and joint action. Different materials and techniques are used in the work: hand embroidery, patchwork, applique, lace, textile inserts and small images.
After the laboratory was completed, the panel was donated to the Nekrasovka Library as a memento of their collaboration and as an object created specifically for this space.
I’ve been in charge of the Texts and Textiles creative group for three years now. The group of workshop participants was formed during the work of my Texts and Textiles laboratory in the Nekrasovka Library.
We hold meetings on various techniques of working with textiles: embroidery, applications, printing on fabric and knitting. We come up with and create joint textile projects.
We hold meetings on various techniques of working with textiles: embroidery, applications, printing on fabric and knitting. We come up with and create joint textile projects.
"
Marina Sazonenko
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry’s standard dummy text ever since 1966, when designers at Letraset and James Mosley, the librarian at St Bride Printing Library in London, took a 1914 Cicero translation and scrambled it to make dummy text for Letraset’s Body Type sheets. It has survived not only many decades, but also the leap into electronic typesetting, remaining essentially unchanged.
"
Lorem
Ipsum
Ipsum
Sculpture Collective Dream
The sculpture is a product of co—creation, assembled from the works of the participants of the Textile Workshop (CIC Fabrika, Moscow) and united by one theme — dreams.
The object is assembled in the form of a mobile, similar to kinetic sculptures by Alexander Calder. Each of the elements of the mobile is a kind of "air cloud" made of organza, on which, with the help of embroidery, the "arguments" of each of the participants on the topic of dreams, their interpretation, images and symbols, archetypality, media and literary statements about them are presented.
The object is assembled in the form of a mobile, similar to kinetic sculptures by Alexander Calder. Each of the elements of the mobile is a kind of "air cloud" made of organza, on which, with the help of embroidery, the "arguments" of each of the participants on the topic of dreams, their interpretation, images and symbols, archetypality, media and literary statements about them are presented.
The slightest movement causes the sculpture to sway and create reflections on smooth surfaces and cast intricate shadows. Created from transparent organza, it is like a stained glass window through which the surrounding reality is modified, as if emphasizing the ephemerality and subtle essence of a dream. However, the embroidered contrasting texts and images make it possible to grasp the semantic part of the dream, which refers us to Jacques Lacan’s dream interpretation approach — "a dream has neither beginning nor end, there is only a fragment of memory, which begins with the retelling of the dream. Another interpretation is always possible."
The mobile includes "textile dreams" by the following participants: Lana Eremina, Ninel Kozlova, Alexandra Fedorenko, Albina Stasyuk, Elena Kornilova, Marina Kuznetsova, Olga Popovskaya, Yulia Bazhenova, Natalia Durich.
The mobile includes "textile dreams" by the following participants: Lana Eremina, Ninel Kozlova, Alexandra Fedorenko, Albina Stasyuk, Elena Kornilova, Marina Kuznetsova, Olga Popovskaya, Yulia Bazhenova, Natalia Durich.
This story was born on the basis of my dream about birth and death. On the one hand, people came to the funeral of a little black boy who was killed by people. This is the apotheosis of human cruelty. On the other hand, this story is a reference to the famous sculpture "Black Madonna" or "Mulanita" (translated from Spanish — "dark—skinned") with a baby, which is located in the Spanish monastery of Montserrat. This is a wooden sculpture that was carved in Jerusalem at the very beginning of the existence of religion. For centuries, people have been coming to look at this statue, to pray and to tell their innermost thoughts.
"
Yulia Bazhenova
Common Notebook
The project is a shared notebook-a memoir of such components of girls' culture as diaries, questionnaires, songbooks, fortune-telling, secrets, etc. Each of the participants turned to their personal text archives and embodied their reinterpretation in textiles. Our project is about the interaction of words and visual images. The diary of memories takes us back to the girl’s past, to the nostalgic collective archetype, which makes it possible to find support in the present.
Participants: Lana Eremina, Alexandra Fedorenko, Elena Kornilova, Marina Kuznetsova, Lyubov Basangova, Nina Kudyakova, Natalia Durich, Sofya Umnova
Participants: Lana Eremina, Alexandra Fedorenko, Elena Kornilova, Marina Kuznetsova, Lyubov Basangova, Nina Kudyakova, Natalia Durich, Sofya Umnova
My "love" diary, as I called it at school, came back to me exactly on my birthday (and I thought it was lost forever). I had a lot of notebooks where I wrote my thoughts or described the events of the day. This one was the most beautiful and special — I wrote down who I liked here. I open it and am transported back to the day when I was madly in love — in the 9th grade, in the 5th and even in the 1st. The boy from the parallel, the older boy, the boy from the camp — a whole book of loves, a book of names on paper, behind which there are sleepless nights, dreams and expectations.
"
Nina Kudyakova
The project was exhibited at the exhibitions PRISHLO SLOVO (Bashnya Art Space, Yoshkar-Ola), the Koreshki Samizdat Festival (Novosibirsk), and VSYO YESHCHYO KNIGI. Reassembly (Novosibirsk). The artist’s book is held in the collection of the State Public Scientific and Technological Library (SPSTL).
Warm Light. Woven Memory
This project is a kind of village, connected from memories with the use of natural home—spun wool. This project combines the tactility of natural wool, collective creativity and personal memory. The series of objects of the Texts and Textiles group is a study of family memory through the prism of material heritage and handicrafts. The project combines the archetypal image of a village house with the "grandmother's square" technique, the most common pattern of Soviet/post—Soviet homemade knitting.
The members of the group "Texts and Textiles" "tied" personal stories about their grandmothers, the smell of the house and the feeling of unconditional protection into each house. Each house is dedicated to a specific woman, her strength and warmth, which continues to warm us decades later. This is a collective statement about how individual stories form a common cultural memory.
The monochrome shades of yarn contain a reference to family photo archives, emphasizing the natural origin and ascetic aesthetics of the Russian home. The rejection of color allows the viewer to focus on the stories of the participants and their memories. The use of the "grandmother's square" technique refers to a frugal and creative life, where every scrap went into business, and every thing was filled with meaning.
Participants: Lana Eremina, Alexandra Fedorenko, Elena Kornilova, Maria and Vasilisa Kornilova, Olga Popovskaya, Marina Sazonenko, Natalia Sukhareva, Elena El. Sakovskaya Street.
The members of the group "Texts and Textiles" "tied" personal stories about their grandmothers, the smell of the house and the feeling of unconditional protection into each house. Each house is dedicated to a specific woman, her strength and warmth, which continues to warm us decades later. This is a collective statement about how individual stories form a common cultural memory.
The monochrome shades of yarn contain a reference to family photo archives, emphasizing the natural origin and ascetic aesthetics of the Russian home. The rejection of color allows the viewer to focus on the stories of the participants and their memories. The use of the "grandmother's square" technique refers to a frugal and creative life, where every scrap went into business, and every thing was filled with meaning.
Participants: Lana Eremina, Alexandra Fedorenko, Elena Kornilova, Maria and Vasilisa Kornilova, Olga Popovskaya, Marina Sazonenko, Natalia Sukhareva, Elena El. Sakovskaya Street.
I remember I was about two years old, I was walking with my grandmother near our house, and suddenly there were flowers. There are many of them, they are multicolored: white, pink, red, yellow, I lean close to them to examine each vein, to inhale this smell — sweet, lively, my first scent of beauty in my life. Grandma is standing next to me. I don’t remember her face, just her hands, just her warmth. And these flowers.
They say that if you tie a house made of grandmother’s squares, the souls of all the women of the family will move into it. Its threads are silence. White is pure thoughts, gray is everyday life and worries, and dark is the night when the light is brightest.
In the first window there is a Girl who keeps Dreams.
In the second, there is a Woman who keeps Her Love.
In the third, there is a Mother who preserves Wisdom.
And in the fourth window, the Flower of the Genus blooms — a sign that the memory is alive, and the house will never be empty. And even when the lights go out in the house, the stars in the windows continue to shine. Because the memory of generations is monochrome only on the outside, but inside it burns with gold.
They say that if you tie a house made of grandmother’s squares, the souls of all the women of the family will move into it. Its threads are silence. White is pure thoughts, gray is everyday life and worries, and dark is the night when the light is brightest.
In the first window there is a Girl who keeps Dreams.
In the second, there is a Woman who keeps Her Love.
In the third, there is a Mother who preserves Wisdom.
And in the fourth window, the Flower of the Genus blooms — a sign that the memory is alive, and the house will never be empty. And even when the lights go out in the house, the stars in the windows continue to shine. Because the memory of generations is monochrome only on the outside, but inside it burns with gold.
"
Lana Eremina
The project is currently on view in the exhibition Na Oshchup'. A Guide Through the Labyrinth! (Bashnya Art Space, Yoshkar-Ola).
