Dyeing through dying

"Dyeing through Dying" started as a rather vague project based on an unclear aspiration to explore the concept of trace, especially in relation to natural dying techniques and hand-stitching.

As a textile artist, the selection of fabric as the basic background material, instead of any other material, seemed familiar, obvious and rather advantageous. Indeed, a piece of white cotton textile can acquire similar properties as the absorbent photographic paper, though in woven and flexible structure, on the surace of which marks, paths and traces can be created. My initial searching focused on several techniques and processes that stimulate living or non-living “organisms” to leave their distinctive mark. Screws, rivets, pins, bolts, tools and other iron objects are left to erode over a long period of time imbuing gradually the fabric surface with deep and sturdy stains.

Metals are certainly an essential element in my work. And though, metals are typically categorized as inorganic & non-living matter, yet I believe that they should perceived as being in a constant state of change. Gradually, metals by reacting in a sensitive way to moisture and other atmospheric conditions will be lost, but their distinctive mark will probably have the chance to create a new biography. The rust is the capture of this slow and unavoidable decay, the exuviae of a disappearing corpse.

Apart from the natural dying processes, that I consider rather arbitrary and difficult to manipulate completely, the real and more personal venture of the project is the negotiation of my identity as a craftsperson. By acquiring bodily techniques, such as time-consuming and repetitive stitching I try to add my own mark in a given materiality, to imbue the fabric with a small part of my vitality.


Rust and threads on cotton fabric

Wall Hanging: Rust, indigo and threads on cotton fabric, 90X160cm.


Rust, metal objects amd threads on cotton fabric

Cross- Second Skin - Corporal pain 
Cloth, being the main medium between human flesh and the external world, functions as a second skin. In this work, a white piece of cloth, replacing the real human flesh, was fastened with dozens of nails on a piece of wood. The crashing sound of the hammer in rhythmic conjunction with craftsman’s bodily movements reenacted the process of violent crucifixion. Metals, sensing the atmospheric moisture, started slowly to decay dyeing permanently the cloth with body wounds.