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Textile artists were virtually unknown in Slovenia before the birth of the international fibre art movement in the 1960s, and there are few cultural reference points for contemporary embroidery. Anda Klancic initially trained as a fashion designer. This gave her a solid understanding of materials and techniques as well as a fascination for form. Enthused by the chance discovery of machine embroidery, she has used her ingenuity to fully exploit and expand the possibilities of this medium.
Having experimented with other textile techniques she has now focused on the industrial and creative potential of vanishing fabric. Before beginning her research she had no interest in historic lace and found the distortion and adaptation of traditional patterns in machine-made lace unattractive. Although the social and economic factors that led to this distortion in time played a role in the development of machine-made lace, for the most part the resulting designs are weak.
Recycled Shells
1997,
composition of six figures. palm-tree bark, human hair,
cotton/synthetic thread, transparent filament, PVC foil.
Each figure 80 x 36 x 30 cm
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Machine embroidery lends itself to new ways of making lace, free from tradition. This new epoch has challenged Anda to develop ideas from old lace, from details in nature as well as from the technique itself. She has discarded established rules and exploited mistakes to create three-dimensional forms. Historically, objects have been made using needlepoint, bobbin lace, knitting, tatting and crochet; but it is much more difficult to avoid seams, which can distort pattern when using a machine.
Anda's work is currently developing along parallel lines. It includes relief pieces with rich texture as well as hollow three-dimensional forms. 'Dancing Threads', one of her first three-dimensional pieces, was produced on a domestic machine.
Embraced by Nature
1998,
viscose, flax, cotton fabric, polyester thread,
polyester and metal filament, PVA fabric. 70 x 27 x 24 cm
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A more recent translucent hollow piece, 'Embraced by Nature', takes the form of a decomposing leaf moulded around a human shell, and represents the primary clothing of Christian mythology. Although it can be worn, the emphasis lies in the expressive function of the garment. The piece evolved from research into the role of apparel in contemporary society and the ability of clothing to convey a message. Anda hopes that 'Embraced by Nature' will stimulate debate about the transitory nature of fashion, recycling and globalisation. She also envisages that the construction method she has developed will offer a prototype for the commercial production of clothes.
'Recycled Shells', a work composed of six translucent bodies, attempts to make ecological links through the use of recycled materials. In this case human hair is substituted with palm-tree bark. She hopes the material conveys a message about the exploitative power which the consumer-based fashion industry has over the public.
Global, Hand to Hand, All Around
1998/2000, 40 x 40 x 40 cm
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'Global, Hand to Hand, All Around' comments on the invisible web of communication that surrounds us. The connections refer to those of the internet as well as the intimate communications between individuals.
Anda Klancic has exploited machine-embroidered lace as a sculptural medium. Her formally designed compositions, selection and combination of materials convey complex messages.
Anda Klancic has a BSc in design, textile and clothes, and an MA. She is a freelance textile artist and lives in Ljubljana, Slovenia.
This article is from Embroidery, Volume 53 No.1, © Polly Leonard.