Which of the Following Is Not Used in Works of Fiber Art? Polyester Silk Wool Aluminum Otton

In that location is a deep bond between Alves Dias and his art, a meditated dialogue that arises from a reflection on creative cosmos, on the development of his creative process and the continuous confrontation with the material in which the work is embodied.
His works present a reference to the classic bases of the tapestry tradition, but with a renewed and innovative glance, which shines through his entire work, from the three-dimensional volumes, the choice of blended materials, the overlapping textures and sculptural forms.

Alves, Portuguese painter and material artist originally from Vila de Rei, was a student of the António Arroio Schoolhouse of Decorative Arts (1972), one of the most meaning national educational institutions, with a mod Bauhausian matrix, where painting and material art have had prominent personalities such equally Conceição Salgado, Estrela Faria, Salinas Calado, Teresa Raposo, Rafaela Zuquete, Gisella Santi.

The artist has recently had the honour and merit of representing his country at the eighth edition of the International WTA Gimmicky Art Biennial of Textiles, in Madrid, held from Oct 17th to November third this twelvemonth.

Below is the link to his website:

https://alvesdias.pt/en/home-ii/

Alves, can you tell us something about yourself and your history every bit an artist, how did you start and why yous chose textiles equally your principal expressive medium?

I was born in a small village, Vila de Rei, the geodesic middle of Portugal. My birthplace fascinates me!Since my boyhood I have been thrilled by the mount in forepart of my house covered with the arbutus trees, with a very intense green; a range of colours from yellowish to orangish and ruby-red stood out fromits fruit. I as well think the shadows on the walls of my bedroom when the oil lamp was lit. I remember the gentle accident of the odor of the mimosas, of the rock rose trees and rosemary and I also the stones and loose walls that I climbed and from where I glimpsed my "little globe".

I always watched carefully the various manifestations of Nature as something alive, as something fascinating!

My appointment with the farming life, every bit well as the bail of sensations associated with the experience of nature in the diverse rituals like the slaughter of the pig, the olive harvest, the grape hand-choice harvesting , the wheat threshing, and the maize husking were very important experiences for my future life equally a plastic creative person.

My childhood spent in my village was my first experience of freedom, the school that initiated me and where I learned to watch and imagine my "footling world".

After my primary didactics I came to Lisbon, the capital of Portugal. This urban center, its river and the sea were something new to me. It took me some fourth dimension to taste such beauty! Gradually I discovered Lisbon. This city would be some other "new globe", very unlike from my "little world", the hamlet where I was born and had lived till then.

I was a dreamy teenager who found at the António Arroio School of Arts one of the first foundations for my paths of art, progress and creativity.

António Arroio Schoolhouse was for me an exceptional school. It provided me knowledge, experiences, techniques and wide experiences for my beginning every bit a painter and teacher linked to the School Subjects of Drawing and Handwork.

The António Arroio Schoolhouse of Arts was for me a flag of freedom and modernity and it also provided technical education to many artists who are internationally well known now.

I started my activity as a painter afterward the Painting Course at the António Arroio School of Arts. My early artworks were of an abstract nature and the color palette ranged from cold colours to warm colours. My beginning individual exhibition which was very considered took place in 1973, in Abrantes, where I started teaching the year earlier.

"S/Título", 1973, Mixed media on canvas (tarlatana, cotton fiber, sand, oil pigment), 46x61cm, copyright Alves Dias

A kick-start for my artistic work was my visit to the 8th Lausanne International Tapestry Biennial at the Calouste Gulbenkian Foundation in Lisbon, in 1977. I was astonished with it! I watched those works of art carefully, and I still can shimmer the works of the artists Magdalena Abakanowicz, Olga Amaral, Jagoda Buic, Liselotte Siegfried, Ritzi Jacobi, Dorothy Ruddick and artists Daniel Graffin, Peter Jacobi, Yoichi Onagi, and Tetsuo Kusama. It was, undoubtedly, the visit to this exhibitionthat awakened me to the Textile Art.

Afterward, equally a teacher, Itooka professional internship in 1980 in the areas of Paper, Forest, Ceramics and Textiles.

At that fourth dimension I already had some knowledge of Tapestry but fifty-fifty though I felt a strong desire to learn new techniques. Then Igot in touch on with Gisella Santi, a master in Tapestry in Portugal, who had a studio where "new things" were made…

Gisella Santi used to teach the traditional tapestry techniques (the Gobelin) but she too taughtinnovative techniques for Gimmicky Tapestry.

Gisella Santi formed theGroup iii.4.5.,a Portuguese Gimmicky Tapestry Clan in 1978 and I was invited past her to take part of it, in 1989. This Group had a very important role in the promotion of the Portuguese Contemporary Tapestry, by implementing national and international Textile Art exhibitions.

It was in this involvement of looms, webs and weaves and because of the richness of the cloth materials that I became interested in Contemporary Tapestry and engaged myself in it.

"Cavalo-marinho", 1984, woven tapestry (cotton, jute, acrylic fiber) 92x72cm, copyright Alves Dias

"Encontro", 1989, woven tapestry (sisal, cotton fiber, wool, acrylic fiber, wire), 120x62x32cm, copyright Alves Dias"

FOTO 26 (eight) Reflexos, 1985, Coleção particular

"Reflexos", 1985, woven tapestry (wool, cotton, jute), 64x71cm, private collection, copyright Alves Dias

FOTO 27 (22) Luminárias, 1994, coleção detail

"Luminárias", 1994, woven tapestry (wool, jute, sisal, cotton, linen), 165x125cm, private collection, copyright Alves Dias

What is the link betwixt your art, your environment and the cultural of your land?

I accept e'er enjoyed drawing. In the elementary schoolhouse I used to hands illustrate the compositions and my classmates always asked me to draw for them. Every bit I was very fond of handicrafts I usually mademy own toys out of the trunks of elder copse, from canes, cork, leaves of corn and chestnut. In these small works I already showed some creativity.

At domicile I enjoyed watching my mother sewing on the old Singer auto every bit information technology was she who used to make almost of the family'south clothes. I used to watch her intently to understand how she shaped the fabrics to make the shirts, the pants and the underwear.

In the evenings my sisters usually embroidered, knittedor crocheted while I painted, with crayons,some kitchen utensils, drew the burn down that crackled in the fireplace or something else.

The religious festivals and processions, the fairs and rural markets, likewise as the dissimilar colours and textures of the four seasons of the year ever left me sensations and visualizations which I all the same go on in my memory.

In this context,the village where I was born and lived until I was twelve, left me a wide repertoire of experiences that have been influencing my works, both in painting and tapestry.

In the city of Lisbon and still every bit a student of the António Arroio School of Arts, the teachers who organized study visits to museums, drinking glass and ceramics factories, likewise every bit to well-known factories as the Portalegre Tapestry Manufacturing Factory and the handmade Arraiolos Rugs Manufactory, were able to encourage my enthusiasm to visit churches, convents, museums, antiquarian shops and art galleries. They likewise provided me the knowledge of the aesthetic and artistic sense, the essential basis for my futurity plastic creations.

Today the city of Lisbon lives in a very intense cultural environment, with a large amount of permanent and temporary exhibitions spread through many museums, foundations, fairs and art galleries. When e'er I tin can I attend these cultural manifestation swhich enrich me and brand me wing in order to create webs and threads linked to projects that I still wish to develop.

"Máscara Seven", 1994. Tapestry mask (slate, wood, acrylic glass, cotton), 48x29cm, copyright Alves Dias

FOTO 31 (20) Objetos Têxteis, 1993, Coleção particular

"Objetos Têxteis", 1993, Tapestry objects (cotton, linen, copper, plaster, argent, stones, wire and beads) 48x15x15cm, 38x15x15cm and 50x19x19cm, private collection, copyright Alves Dias

What makes your tapestries traditional and what makes them contemporary? What is the relationship between tradition and innovation in your artwork?

The commencement works I made were embroidered tapestries on tow linenfabrics. They are abstract compositions in which the visual elements used to emerge while I was embroidering and choosing the materials I had selected before. At this stage of my piece of work I did non resort to the report of the composition. I could mentally visualize what I wished to do. I used the natural colours of the wool, cotton fiber, linen and jute.

After some time I started to weave in a vertical weaving loom. Some works were fabricated from graphic studies, not others; I but arcadian them mentally. As far as the colour is concerned, I used a wide range of colour palette that suited each specific circumstance. I also began to conceive three-dimensional, embroidered and woven works.

My mind wouldn't stop and I couldn't terminate thinking in order to create and experience other materials and techniques.

During this period my intention was to work with rough and harsh materials and I felt engaged to the natural-coloured vegetable yarns of sisal, jute and hemp of various thicknesses, which I had to color by dyeing them in a handmade way. I performed larger works with these materials for a long time.

The tapestry linguistic communication in a traditional dimension (the Gobelin), an essential basis for its creation, is present in almost all of my works.

To create new plastic languages in gimmicky concepts, in full general, I associate unusual materials combined with innovative techniques. I also use threads which are intendedto be lines of drawing, contours of shapes accentuated past fabrics, collages as a plastic strategy of Modernity among many other procedures which integrate andare function of the torso of the work. Every bit I mentioned before the human relationship between tradition and innovation is implicit in my work.

"Dunas", 1990, woven tapestry (copper wire, cotton, jute, sisal), 98x160cm, writer's collection, copyright Alves Dias

"Dunas-item", 1990, woven tapestry (copper wire, cotton, jute, sisal), 98x160cm, author'southward collection, copyright Alves Dias

The materials have expressive and sensory abilities that tin emotionally influence the viewer by conveying specific reactions. When y'all project a new textile piece of work, what are the criteria, the central aspects that guide yous in the choice of materials that you will choose to make information technology?

When I became to be interested in the execution of textile objects, the profusion of materials took up the space of my desk-bound.

Therefore the material sensibility acquired other materials such as wires, forest, papers, acrylic glass, plaster, blackboards, wood needles, argent solder, paper pulp, brass plate and copper sheets. Materials always challenge and incite me to take advantage of their backdrop.

To link some of these materials I often use the gesture of sewing, of joining through the perforation while applying threads which indeed are the true cloth fibers. The existent or faked sewing is one of the tools I apply to create many objects.

I am a gatherer. Whenever I see bits of woods eaten by the worm, small rusty sheets of fe, or other damaged materials, I collect them and I immediately visualize the transformation and the function that I will give them.

When conceiving a new work, my option of materials is strict and careful and it depends on the expressive, tactile and textural aspects that I wish to give it.

"Sem Título", 2016, tapestries objects (forest, paper, cotton, silk and copper wire), 32x23x3.5cm, copyright Alves Dias

"Sem Título ", 2019, Tapestry object (wood, polyester, cotton, paper and acrylic ink), 13x13x30cm, copyright Alves Dias

Improvisation, randomness, experimentation, study, rules. Which of these aspects has an essential or prevailing office in the process of the nascency of your artworks?

The artistic process of my artworks always takes into consideration the thoughtful study of what I wish to do, how to do it and which the rules are for achieving the final product.

In a first step I mentally visualize the entire procedure of my work development in terms of shapes, techniques, colours and materials. Then I take notation of all these data on a sheet of paper. The improvisation, the randomness and the experimentation are also aspects that I appeal to when I want to accept advantage of some textile that I find to create a work.

I tin can too cull boxes, drawers and pocket-size wooden tables to which I add volumes with various types of malleable materials. Afterwards I embed the material threads through their intersection. These are the methods I usually use for the cosmos of my works always because the conceptual and artful aspects.

How has your work evolved over the years? Are there important stylistic, aesthetic or conceptual differences between your beginning textile works and the almost contempo ones?

In my early works the decorative effects were somehow obvious. Through studies, researches and experiences, I succeeded in breaking free of these effects and tried to highlight the conceptual and aesthetic sense of the works by using the three-dimensional tapestry, the creation of volumes and the surrounding spaces.

My work has evolved a lot. The dissimilar methodologies, the techniques, the materials, the awarding of the most various textures were the fundamental basis for the improvement of my piece of work.

My attentive reading of specialized books on fabric and gimmicky tapestry, the lectures, the workshops, the visits to international art fairs, the material biennials and the exchange of ideas with other artists have been also relevant to me.

It is evident the accomplished development between the accomplishment of my first works and those that I am carrying out now. We can visualize the growth on the aesthetic and conceptual level and my concern with achieving procedures and so that the language of traditional tapestry is not implicit.

What is the source of your inspiration today?

Everything that surrounds me tin be a source of inspiration: the nature, the memories and scents of my childhood also equally the sensations and visual stimulien couraged by the past and everyday experiences.

I am a very artist and I notice suggestions in the smallest things, even a piece of wood or fe destroyed by the fourth dimension can lead me to theexecution of an artwork. The dialogue betwixt my easily and the material empathize each other and they conceive the work itself.

My careful observation of some works of art in museums and exhibitions as well as the application of images of other artists' works can lead me to interpretations in order to perform new works. But it is the near diverse materials that challenge and urge me to explore new concepts, to go farther in this wonderful world of material art.

Tin you lot tell us nearly your work Velaturas Têxteis which is exhibited at the Eighth Biennial of Gimmicky Textile Art WTA in Madrid?

I created these works from a ready of textile materials where the threads prevail in club to generate new plastic languages in contemporary concepts.

The work "Velaturas Têxteis", composed of six elements, was designed not to identify itself with the canons of the traditional tapestry language. My goalwas as well to achieve procedural freedom for the treatment of the surfaces.

From my idea of wishing to generate various three-dimensional shapes, I modelled diverse textile materials as if they were a piece of dirt. These shapes were born from the compression of diverse materials such as fabrics, newspaper, wastes of various cloth fibers and linen and too raw cotton wool. They were tied by cotton yarns of various thicknesses to give them the intended shapes.

I used the expression "velatura", a pictorial technique in which several layers of transparent ink are overlapped. In this textile state of affairs, I used and cotton and linen yarns of several thicknesses in a technique where the crossing of multiple yarns let the materials that I used to be seen. In this context, the thorough spreading of the intersected wires, sometimes dense, creates sometimes more and sometimes less compact textures and they highlight the result of transparency, as if they were glazes.

This piece of work was selected for the International Contextile Biennial in Guimarães, in 2018 and with it I was elected to represent my land, Portugal, every bit a guest creative person for the 8th WTA International Biennial of Contemporary Textile Art, in Madrid, in 2019.

On the basis of your rich and many years of experience as an creative person and instructor, what is the space that textile art has today within the wider field of the Major Arts? Has textile fine art finally managed to win the right to no longer be considered a pocket-sized art?

Contemporary Textile Art, as a mean of plastic expression, since the sixties, has been exploring new ways, new concepts and new experiences. By leaving its traditional status, the Textile Art has been increasingly proving its destiny like all the other forms of Fine art. The Textile Art already left the wall, took physically space, waived the loom and resorted to new techniques and new materials.

In the last decades the Textile Art has been going through many renovations. Starting from traditional techniques many artists have developed new contemporary proposals with innovative techniques, from the weaving in digital photography to the 3D press, the organic cloth, the video, the installation and so on

Textile Fine art is no longer considered a minor art, information technology is rather a major art which has increasingly been viewed effectually the world, in the master international fine art fairs, art galleries and biennials.

Alves, among all the tapestries you have made so far, the subjects or concepts they represent, is in that location a red thread that keeps them together as if they were a universal, unique work? In other words, is there a principle that inspires and founds all your tapestry product?

In all the works I take created for more than four decades of artistic activeness in which the cloth-tapestry element is always present and inherent to drawing and painting, at that place is a common thread that sustains the whole cosmos: the materials and techniques associated with the conceptual and aesthetic component are the ones that set all my work. It is also my optics and my fingers that connect and sympathize themselves in this relationship of sensuality with the materials that surround me. Thoughts also generate in me silences fabricated of deep observations that reflect in the cosmos and materialization of my almost tactile works.

FOTO 22 (12) Libertação,1989, Coleção particular

"Libertação",1989, woven tapestry (cotton wool wool, jute, acrylic fiber), 155x72cm, individual drove, copyright Alves Dias

"Exaltação", 2007, Tapestry fabric-painting integration (cotton wool, graphite and acrylic paint on sail, 110x150cm, copyright Alves Dias

In your opinion, what are the expressive limits of textile art?

Now a days at that place are no limits to the creation of the Textile Art. Everything is suitable to weave, everything is webs and plots without really being it.

The textile sensitivity trespasses the most diverse materials and techniques and it can disregard the conventional and structural concepts of weaving. To this extent, every things suitable to weave, to interweave, to bind, to cover and to gyre up, and information technology is this that establishes a dialogue between shapes and textures. The work is built-in this way…

In this path of webs and plots we are finding spaces of dialogue to discover the capacity of the textiles as an creative means of expression and so weare creating new plastic languages in contemporary concepts.

"Tronco de Memória III", 2010, tapestry object (cotton without wooden trunk), 34x21cm, copyright Alves Dias

FOTO 21 BIS (thirty) Tronco de Memória V, 2010

"Tronco de Memória Five", 2010, tapestry object (cotton fiber without wooden trunk), 34x21cm, copyright Alves Dias

What are you working on correct now? Would you lot similar to tell us about your electric current textile projects and upcoming exhibitions?

Now I am working in a piece that will be exhibited, hanging. My idea for its achievement came from the visualization of a malleable polyester structure with small squares which is used to be placed underneath the carpets then that they practise not slide. This work is made up of forty-i strips of polyester which were cut from the square structure. The strip is ninety centimetres long and I take tied cotton threads to each strip. Altogether they are 8 thou, two hundred and eighty-two threads! Later on having tied all the wires to the strips, they were fastened to the wall with nails. And so I fastened the strips together to fix them. My goal is that the knotted threads can exist seen under the spider web. This it is made by the intersection of several threads. Every bit the piece of work volition be hanged, I will work on it from the other side. I volition create reliefsthere, in paper or fabrics and I will cover the surface created with the same web of crossed threads. This process volition take me much fourth dimension.

In the near futureall my cloth cosmos will go through the realization of iii-dimensional projects, materialized with innovative techniques.

I will participate in several group exhibitions and I highlight the ane I will appoint with at the Portalegre Tapestry Museum – Guy Fino, Portalegre Tapestry Manufacturing, with the teachers and students of the Faculty of Fine Arts of the University of Lisbon. I volition also compete for the International Biennial of Contemporary Fabric Fine art, theContextile 2020, in the city of Guimarães. I also intend todevelop projects for individual exhibitions in Cultural Foundations, Museums and Art Galleries at national and international levels, from the twelvemonth 2021.

Information technology is in this my "Little World" of threads and lines, crossed with silences, quietness, aloneness and serenity that I build webs and plots in a deep dialogue with the hands, the materials and techniques. This manual time is unified, it is my time and I accept what my hands do and what they can exercise!

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Source: https://www.artemorbida.com/the-intense-dialogue-between-artist-and-material-the-works-by-alves-dias/?lang=en

Which of the Following Is Not Used in Works of Fiber Art? Polyester Silk Wool Aluminum Otton

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