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"The poppy heads, the pumpkins,
the huge leaves, the tree trunks full of fattening pride, live and
grow.The Tapestry weaves them and tells, sometimes “whispers”.
Woven from linen thread, it also tells the linen’s whole life: the
upright growth, the cutting, the chewing and the weaving. It is woven
piece by piece, the tree fibre as time goes along. Its colours are not
superficial. They come out of the fields, creating the feeling of the
time passing by their lost vigour: fading colour.
Remember the sheets, or the ancient napkins woven long ago, for domestic
purposes, pale, light grey, washed and washed, white-washed, faded,
awaiting the Christmas feast or other special occasion?
On the equally light toned sandstone, the Tapestries of Yolande de
Plato are woven without any sophisticated machinery, just a simple
network of threads placed on a wooden frame, which is fixed on the
wall.An ochre piece of paper, charcoal traces, are used for the rough.
No atrocious tension is exerted on the strings. Her Tapestries are made
far from the agitated and crowed places; in the intimacy of a huge
workshop, the work progresses, with, as the only witnesses, some lost
insects that move the air.
The crows are already circling around this place, very high.We are
anxious.
Is it autumn time?
The make-up is no longer necessary” Edward Baran |
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The tapestry, ancestral art of the
prosperous during her heydays. From ancient Greek times and through
the centuries of the Renaissance, as she clothed churches and castles,
the tapestry arrives today, through my working philosophy, to meet the
values of our contemporary needs: respect for the working material,
respect for time as it takes the rhythm of man to realise a tapestry
(up to six months per square metre), and respect for individual
creativity.
The textile is a “second-skin” element.
For tapestries, there is a dialogue at each millimetre, the material
has to be ‘heard’ and then guided, arranged, contained, and mastered
through weaving for the osmosis from texture to expression.
The tapestry is missing from modern
construction that is often too dry and too hard in design and material.
The tapestry can take the role of the moving, the vibrating, and also,
paradoxically, of temporality – not only the fleeting but also the
opulent temporality, since a tapestry is unyielding and defies
centuries. For his balance, man needs to have something more mortal
than himself at hand, especially so within ‘concrete’ buildings and
structures.
After having worked on the creative of childhood by
turning children's drawings into tapestries in recent years, my cuurent
theme is investigating the link and networks that constitute us and
enable us to exist. Lacking these link and networks is losing the sap of
life, getting caught up in them is losing the sense of being.
Yolande de Plato
since 1977 some of the
exhibitions:
Paris Salon des Beaux Arts, TOULOUSE
Symposium international sur les teintures naturelles,
FRIEDRICHSHAFEN(D), NONTRON Aujourd'hui la Tapisserie, SOUZAY Les Folles
du Fil, PARIS Musée Des Arts Décoratifs, ANGERS Musée des Beaux-arts
NANTES Hôtel de la Région, MEAUX Tissa
Muros, MARBURG(D), KUVOLA(Fi), CHINON Castle, SAUMUR, HEIDELBERG(D) DKFZ,
HOLDENSTEDT, MANNHEIM Reiss Museum, Abbaye de FONTEVRAUD, Château de
VILLANDRY, NICE, CANNES, MEGÈVE, COLOGNE(D) Institut français,...
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