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The work I engage in navigates between the meticulous construction of small objects, sculptures, or textile installations and the appropriation of objects, clothing, handicrafts, and other materials that I encounter/collect during my explorations of various places. The diverse techniques I employ stem from textile language, enabling me to discover specific ways to unite, join, camouflage, nest, organize, weave, and construct sculptural arrangements.
The botanical universe consistently nourishes me artistically more than other realms. I harbor a profound curiosity about how plants, small animals, and living beings in general function. I am drawn not only to their formal/aesthetic qualities but also to the roles they play in ecosystems. This interest stems from a deep disillusionment I feel with our human species and the widespread neglect of environmental issues that have been consistently affecting our daily lives in recent decades. My work is connected to these ideas not only through the careful and thoughtful use of materials, mostly sourced from second-hand clothing and domestic objects, but also through the themes or subjects that are woven together. All the works seem to be in a process of gestation, proliferation, reproduction, coming into being, conceiving themselves. In this sense, they are nests or nested sculptural bodies, sometimes enveloping my own body. They incorporate very intimate elements, such as clothes and occasionally, very personal objects and articles that belonged to unknown individuals to me. I manipulate them, giving shape to these sculptural arrangements that, for me, are beings always alluding to spaces that exist within or outside our bodies.
I consider the trajectory as an artist to be very challenging because you need to invest a lot—your time, energy, in every aspect! This can be very demotivating for many people who would like to fully live off their art. In my case, it's a slow, constant, and complex endeavor. I feel an internal urgency and need to create. I experiment a lot and make many mistakes as well. I progress very slowly, believing it's a kind of work that requires constant nourishment and sustenance. I sense that my work is still in a gestational process, maturing over time. I don't wish to rush this process; I would like the work to solidify and evolve naturally with time.
Technological advances indeed contribute to easing certain procedures, work processes, and communication among people. However, they also generate a lot of noise. Overall, I find it fascinating how artists quickly incorporate technological innovations into their creative processes. In my case, the extent of technology I employ includes social media, apps for image editing, and aspects related to videos and photographs. But beyond that, I truly feel more challenged by manual, slow-paced craftsmanship, the kind that requires time to be constructed. I appreciate the challenges that tangible, concrete materials provide, embracing them as an artist.
I would deeply wish for a world that is more inclusive and equitable for us artists. A world that is kinder and more generous, less competitive and aggressive. Regarding my work, I hope for a life with ample time and sufficient health to create all that I still aspire to create.
INSTAGRAM: @freitag_textileart
WEBSITE: www.freitagvanessa.com
This record is a work in progress. If you have additional information or spotted an error, please send feedback to art@museutextil.com .
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