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Yole Devaux talks about the practice of textile art through her career as a practitioner and teacher in the Tapestry and Textile Art workshop at the Royal Academy of Fine Arts in Brussels. She traces the history of this medium, particularly through the changes she witnessed at the Lausanne Biennials in the 1970s. On one side were the defenders of a tapestry made from a cartoon by a painter, who came together in France with the magazine La navette. On the other, a group of designers led by Michel Thomas-Penette were campaigning in the pages of the Art textile magazine for new approaches in which textiles were fully asserted as a medium. Yole Devaux also tells us about his discovery of the work of Daniel Graffin. At a time when what came to be known as Fiber Art was being born, she nevertheless nuances these oppositions through the example of the collaboration between Thomas Gleb and Pierre Daquin, and takes a general look at the practices of smooth, high smooth and low smooth tapestry. She goes on to present her own visual work and the work of students in the textile workshop. She defended the work of the hand in tapestry, weaving and lace. She mentions Tim Ingold and the "makers", who are close to her relationship with "making" and the intelligence of the hand. | == Abstract == | ||
Yole Devaux talks about the practice of textile art through her career as a practitioner and teacher in the Tapestry and Textile Art workshop at the Royal Academy of Fine Arts in Brussels. She traces the history of this medium, particularly through the changes she witnessed at the Lausanne Biennials in the 1970s. On one side were the defenders of a tapestry made from a cartoon by a painter, who came together in France with the magazine ''La navette''. On the other, a group of designers led by Michel Thomas-Penette were campaigning in the pages of the ''Art textile'' magazine for new approaches in which textiles were fully asserted as a medium. Yole Devaux also tells us about his discovery of the work of Daniel Graffin. At a time when what came to be known as Fiber Art was being born, she nevertheless nuances these oppositions through the example of the collaboration between Thomas Gleb and Pierre Daquin, and takes a general look at the practices of smooth, high smooth and low smooth tapestry. She goes on to present her own visual work and the work of students in the textile workshop. She defended the work of the hand in tapestry, weaving and lace. She mentions Tim Ingold and the "makers", who are close to her relationship with "making" and the intelligence of the hand. | |||
Dernière version du 28 janvier 2024 à 20:51
Abstract
Yole Devaux talks about the practice of textile art through her career as a practitioner and teacher in the Tapestry and Textile Art workshop at the Royal Academy of Fine Arts in Brussels. She traces the history of this medium, particularly through the changes she witnessed at the Lausanne Biennials in the 1970s. On one side were the defenders of a tapestry made from a cartoon by a painter, who came together in France with the magazine La navette. On the other, a group of designers led by Michel Thomas-Penette were campaigning in the pages of the Art textile magazine for new approaches in which textiles were fully asserted as a medium. Yole Devaux also tells us about his discovery of the work of Daniel Graffin. At a time when what came to be known as Fiber Art was being born, she nevertheless nuances these oppositions through the example of the collaboration between Thomas Gleb and Pierre Daquin, and takes a general look at the practices of smooth, high smooth and low smooth tapestry. She goes on to present her own visual work and the work of students in the textile workshop. She defended the work of the hand in tapestry, weaving and lace. She mentions Tim Ingold and the "makers", who are close to her relationship with "making" and the intelligence of the hand.