Ecovision Conference - Day 1

2-daagse textielconferentie

This is the second conference organised by Karina van Vught, European representative for the Surface Design Association(USA). We kindly invite members as well as non members to join us for this special event which will provide a setting for textile artists, teachers and practitioners to meet in an informal way and to share information under the umbrella of Surface Design. The theme this time is Ecovision inspired by the SDA journal similarly called and edited by Patricia Malarcher.
Day one (21/10) will be filled with inspiring lectures - Day two (22/10) will feature a trunk show and demonstrations by members, willing to share their knowledge and work.

On Friday 21/10 most lectures will be held at the studio of Zijdelings in Tilburg.
For more information regarding the speakers pls check http://www.zijdelings.eu/docenten-container.html

Rosalie van Deursen
African Art ‘Cloth, Clothing and Identity'
Since the year 2000 art history's tunnel-vision view of the earth and the art forms created on it has been gradually adapting to the modern world. Traditionally, only the West was studied and regarded as ‘The Canon of Art History'. Fortunately, times are now changing and the arts and the humanities have realized that art is a worldwide phenomenon that requires global research. African Art is now also seen as ART. But what is African art? And how does it relate to identity? This lecture focuses on traditional African cloth, 'tourist art' and contemporary African art with cloth and clothing as key objects. Cloth and clothing in Africa are means of displaying power and prestige, as well as spiritual and material wealth. They are important means of identifying particular facts about the wearer, such as rank and status, religious belief, ethnic and regional affiliation. Cloth may also carry a combination of visual images and / or written inscriptions which provide ways of communicating public and personal messages about health, politics, religion and sexual relations in situations where certain statements in words cannot be ventilated. 
  
Nan Groot Antink
Dyeing and painting with natural colors
For roughly twenty years now, color has been the most important theme in Nan Groot Antink's work. Not the emotional or aesthetic aspects, but the color itself is her concern. To her, colors are linked with matter; in her work they assume an almost tangible form.  Nan Groot Antink  produces her own dyes from native and foreign plants, cochineal, lichens, mud and chalk. Her knowledge on the preparation of dyes was acquired through experience, but also from old manuals and during her travels to places such as in Africa and Japan. In her search for dyes Nan Groot Antink has found a way in which to dissociate color from subjective choices and preferences

Linda Hanssen
Okinawan Textiles from Local Natural Materials and Dyes
Travelling in the Okinawan archipelago one senses the rich natural surroundings of each island.  When visiting weavers and dyers in their workshops one feels the strong bond of the makers with their natural material for weaving and dying and the possibilities nature offers to embellish the textiles. Nowhere one witnesses so strong the symbiosis between nature and textiles as here in Okinawa. In this lecture Linda will talk about the natural fibres, dyes and finishes used in the Okinawan textiles, have a look at the specific characteristic textiles of each island and give you a glimpse of innovative materials offered by nature.

Leentje van Hengel
Colour discharge printing with natural dye-extracts and their lightfastness results

On wool and silk dyed with cochineal and linen dyed with madder a discharge paste with alum, citric acid and ureum is printed. Colorant extracts Rhamnus, Solidago and Rubia are added to the paste to create a lively range of colours with an average lightfastness of 4-5.The parameters of the dyeing and printing proces are fully explained. Alum is the mordant for silk and wool and gallnuts are used as an extra mordant for linnen.

Anco Sneep
Rubia Natural Colours
The Roman writer Pliny first used the name Rubia for madder, because of the red colour of its roots. Tinctorum is derived from the Latin word for dye. In ancient times, madder roots were used in various parts of the world as a dye, particularly in Asia, where the plant is indigenous, and in Egypt. One of the oldest known examples of textile dyed with madder root is a belt discovered in the tomb of Tutankhamen (1350 B.C.).
The plant came to Holland and was cultivated in particular in Zeeland and on the South Holland Islands. It was here that madder became an economically important crop. However after the discovery and production of a synthetic alizarin in 1868 madder cultivation rapidly declined.
Currently madder is being cultivated again. Rubia Natural Colours manages and guides the entire process, from the initial plant material, the cuttings, up to and including the final product, the powder-type colouring extract. This presentation will show you the process and development of Rubia Pigmenta Naturalia.

Frieda Sorber
Textile Printing, old techniques revisited
The Modemuseum in Antwerp, Belgium, preserves important parts of the archives of the Voortman cotton printing mill in Ghent, active from 1790 to 1890. The museum not only possesses sample books covering the entire century of the printing works existence, but also several thousand wooden printing blocks, inventories, notebooks used by the chemists who prepared the printing pastes and a number of books from the firm's library. The archive not only shows what was printed and which markets the firm catered to (western European dress fabrics and imitation batik and tied dye fabrics sold in Africa and South East Asia) but also reflects the changes in printing technology and chemistry throughout the 19th century. Although never at the vanguard, Voortman's colorists and technicians introduced some of the most important printing machines and tested many new chemicals. This lecture concentrates on how evolving printing processes influenced designs, and how the introduction of new mordants and synthetic dyes changed the palette available to the printer. 
 

Audax Textile museum
i-FABRIC. EUROPEAN TALENT
This intro / lecture will take place at the Museum itself and will be followed by a guided tour thru the exhbition.
Introduction by Caroline Boot (curator of the museum): this exhibition turns the spotlights onto young designers from Europe, which in the past five years have graduated in interior textiles, fashion and design-art. The exhibition presents fashion and design as a strong concept where innovation and material sensitivity go hand in hand. Video portraits of celebrities from fashion, interior textiles and the design world give their vision. After the lecture participants will visit the exhibition themselves. www.textielmuseum.nl

To conclude the day an informal meet and greet & walking dinner will be organised at the Textile Museum. 

Inschrijven

included in the above mentioned fee:
* admission to the conference for 2 days
* coffee/tea and lunches
* buffet / dinner on Friday
* museum entrance for 2 days

not included:
drinks during the reception & the buffet dinner at the museum on Friday.

daily schedule - will be published on this website page closer to the date.

NOTE: anyone interested in textiles and surface design is welcome.
Spoken language is English.