Cosmos, 2020
Vídeo a cores | Coloured video, 3”04’
Vídeo sobre a instalação por Maria Appleton no Cosmos Campolide em Fevereiro de 2020 com interpretação musical on-site de Miguel Alves (electrónica set) | Video about the installation by Maria Appleton at Cosmos Campolide in February 2020 with musical interpretation on-site by Miguel Alves (electronic set)
Vídeo a cores | Coloured video, 3”04’
Vídeo sobre a instalação por Maria Appleton no Cosmos Campolide em Fevereiro de 2020 com interpretação musical on-site de Miguel Alves (electrónica set) | Video about the installation by Maria Appleton at Cosmos Campolide in February 2020 with musical interpretation on-site by Miguel Alves (electronic set)
Austria in Camden, 2019
Impressão digital em poliéster com tecido de algodão estampado à base de algodão | Digital print on polyester with scrim fabric printed cotton based32 x 46cm
Escadas, 2019
Impressão sobre linho e seda | Printed
and unthreaded linen and silk fabric
32x46 cm
Impressão sobre linho e seda | Printed
and unthreaded linen and silk fabric
32x46 cm
THE TOUCH AS FRUITION
— O TOQUE COMO FRUIÇÃO
As linhas de tecido que compõem os têxteis criados por Maria Appleton nunca seriam um todo não fosse o contacto entre elas uma derivação do toque entre partículas que as constituem. A esta forma de contacto da qual origina o objecto artístico, precede o movimento accionado pelo verdadeiro toque, o acto repetitivo e arcaico de tecer (que observamos no vídeo “Cosmos”), aqui em diálogo com um formato digital. Esta passagem introduz-nos a relação da própria ferramenta física de tecelagem com a mão que a estimula, num momento de fruição artística em que se cria o têxtil.
The lines of fabric that make up the textiles created by Maria Appleton would never be a whole if the contact between them wasn’t a derivation of the touch from the particles of which they are constituted. To this form of contact which generates the artistic object, precedes the movement triggered by touch, the repetitive and archaic act of weaving (which we observe in the video “Cosmos”), here in dialogue with a digital format. This moment introduces us to the relationship between the physical tool of weaving itself and the subject who stimulates it, in a moment of artistic fruition in which the textile is created.
SYSTEM OF THING-SHAPES*
A instalação Places in Between Nowhere and Everywhere fala-nos sobre matéria e cor fazendo a ligação entre espaço arquitectónico e o corpo de quem o habita. As “camadas” (arquitectura, têxtil, corpo humano) fazem todas parte dum sistema de “thing-shapes”, conceito criado pela arquitecta Winka Dubbeldam. A composição justaposta de matéria com memórias, viagens psicológicas, tornam o “Eu” consciente de si próprio.
Retirado do texto sobre a série “Places in between nowhere and everywhere” desenvolvido em 2019, Londres
Cola, Corta, Filtra, Junta,
Movimento, Apaga, Mergulha, Batimento,
Construção, Espera, Carrega, Desembaraça, Revela.
É exactamente assim, às vezes opaco, às vezes translúcido.
Um sistema de coisa-formas.
Isto serve para falar de coisas que são irmãs.
(Sobre a colaboração sonora com Miguel Alves)
*Dubbeldam, W. (2002) ‘thing-shapes’, in Taylor, M. and Peterson, J. (2006) INTIMUS: Interior Theory Reader. Great Britain: John Wiley & Sons Ltd.; p 96-100
Places in Between Nowhere and Everywhere is a fabric installation that speaks through and about matter and colour, linking the architectural space to the human body in a journey of layers and perspectives. The different “skins” (architectural, textile, human) are all part of the same system of ‘thing-shapes’ as described by the architect Winka Dubbeldam. The overlap of memories and mental voyages are elements that make one more aware of oneself.
Extracted from the text on the series of work “Places between nowhere and everywhere” developed in 2019, London
Paste, Cut, Filter, Add,
Movement, Erase, Dip, Beat,
Construct, Wait, Click, Untangle, Unveil,
Its like this, sometimes opaque, sometimes translucent.
A system of thing-shapes.
This is to say that these two are siblings.
(About the sound collab with Miguel Alves)
*Dubbeldam, W. (2002) ‘thing-shapes’, in Taylor, M. and Peterson, J. (2006) INTIMUS: Interior Theory Reader. Great Britain: John Wiley & Sons Ltd.; p 96-100
— Maria Appleton
+ INFO ABOUT THE ARTIST
As linhas de tecido que compõem os têxteis criados por Maria Appleton nunca seriam um todo não fosse o contacto entre elas uma derivação do toque entre partículas que as constituem. A esta forma de contacto da qual origina o objecto artístico, precede o movimento accionado pelo verdadeiro toque, o acto repetitivo e arcaico de tecer (que observamos no vídeo “Cosmos”), aqui em diálogo com um formato digital. Esta passagem introduz-nos a relação da própria ferramenta física de tecelagem com a mão que a estimula, num momento de fruição artística em que se cria o têxtil.
The lines of fabric that make up the textiles created by Maria Appleton would never be a whole if the contact between them wasn’t a derivation of the touch from the particles of which they are constituted. To this form of contact which generates the artistic object, precedes the movement triggered by touch, the repetitive and archaic act of weaving (which we observe in the video “Cosmos”), here in dialogue with a digital format. This moment introduces us to the relationship between the physical tool of weaving itself and the subject who stimulates it, in a moment of artistic fruition in which the textile is created.
SYSTEM OF THING-SHAPES*
A instalação Places in Between Nowhere and Everywhere fala-nos sobre matéria e cor fazendo a ligação entre espaço arquitectónico e o corpo de quem o habita. As “camadas” (arquitectura, têxtil, corpo humano) fazem todas parte dum sistema de “thing-shapes”, conceito criado pela arquitecta Winka Dubbeldam. A composição justaposta de matéria com memórias, viagens psicológicas, tornam o “Eu” consciente de si próprio.
Retirado do texto sobre a série “Places in between nowhere and everywhere” desenvolvido em 2019, Londres
Cola, Corta, Filtra, Junta,
Movimento, Apaga, Mergulha, Batimento,
Construção, Espera, Carrega, Desembaraça, Revela.
É exactamente assim, às vezes opaco, às vezes translúcido.
Um sistema de coisa-formas.
Isto serve para falar de coisas que são irmãs.
(Sobre a colaboração sonora com Miguel Alves)
*Dubbeldam, W. (2002) ‘thing-shapes’, in Taylor, M. and Peterson, J. (2006) INTIMUS: Interior Theory Reader. Great Britain: John Wiley & Sons Ltd.; p 96-100
Places in Between Nowhere and Everywhere is a fabric installation that speaks through and about matter and colour, linking the architectural space to the human body in a journey of layers and perspectives. The different “skins” (architectural, textile, human) are all part of the same system of ‘thing-shapes’ as described by the architect Winka Dubbeldam. The overlap of memories and mental voyages are elements that make one more aware of oneself.
Extracted from the text on the series of work “Places between nowhere and everywhere” developed in 2019, London
Paste, Cut, Filter, Add,
Movement, Erase, Dip, Beat,
Construct, Wait, Click, Untangle, Unveil,
Its like this, sometimes opaque, sometimes translucent.
A system of thing-shapes.
This is to say that these two are siblings.
(About the sound collab with Miguel Alves)
*Dubbeldam, W. (2002) ‘thing-shapes’, in Taylor, M. and Peterson, J. (2006) INTIMUS: Interior Theory Reader. Great Britain: John Wiley & Sons Ltd.; p 96-100
— Maria Appleton
+ INFO ABOUT THE ARTIST
| A EXTENSÃO DO TOQUE — THE EXTENSION OF TOUCH | curated by CAROLINA FONTES | design by RITA NUNCIO | Digital Group Show