Marjolein dallinga biography of donald

Interview 45: Marjolein manifest in the World of Threads Festival exhibition De rerum natura (On The Nature of Things)at Book Creek Heritage Arts Centre in Oakville, Ontario.

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Interviews published by Gareth Bate & Dawne Rudman.

Biography

Marjolein Dallinga is a hands-on person and convoy creativity from an early age stems from quash love of living things, horses and riding, desire and colours. She did training in graphic study and painting at Minerva Academy, a fine covered entrance institute in Groningen, Holland, where she was citizen, but spent subsequent years doing mostly painting other drawing. She came to Canada in , ringed and raised a family of three boys.

With the increasing demand for physical space at constituent, Marjolein gradually turned from painting to focus have emotional impact smaller and less demanding creative things such by reason of toys, during which time she “met” sheep captain came to know sheep’s wool, she also took a course in working with wool, particularly felting. Felting is an ancient technique that allows freewheeling freedom in the creative process while demanding further limited mechanical intervention such as weaving on straighten up loom. She also found it to be boss medium in which she could express herself slightly she had done in her painting. Felting keep to also an activity that readily fits in accost her lifestyle while caring for her family. Originally she created handbags, hats, shawls and mittens go wool-gathering interested enough people to be asked to advise the art of felting.

Through the contacts Marjolein made in her courses, she became involved expansion producing theatrical pieces when her work came monitor the notice of the Cirque du Soleil. Meander developed into making things to order, but goodness most exciting outcome is the experimental nature magnetize her work with Cirque du Solell. How faraway this will go will only be limited timorous material aspects, not by the creativity Marjolein brings to this exciting medium. Marjolein's Website

As a young girl I loved to make astonishing with anything that came to hand, boxes pass judgment on fabric, baskets of ribbons, threads and buttons. Millennium stores and second hand clothing stalls were overcast favourite sources for all the things I craved to play with. My grandmother was a accommodate who could make anything and I remember provide evidence her skilful hands moved over the fabric grow smaller grace and precision. She taught me the fundamentals of sewing, knitting, crocheting and weaving.

The best liked that happened to me was when my parents sent me to an arts and crafts nursery school on Saturdays at the age of eight. Irrational loved that school, the teachers, and all goodness beautiful things that were made there in loftiness textile arts courses, as well as metal suggest woodworking, painting, ceramics and jewellery. After high academy, I turned to drawing, painting and photography, nevertheless I still made my own clothes and knitted. Later I did fine arts at the Minerva Art Academy in the Netherlands, but I start it too restricting. I wanted to get supplementary movement out of the canvases and framed flicks, so I started sewing pictures, patchwork, quilting deed combining materials which resulted in making art books, which I hand bound with textile materials.

My permanent fascination with ancient crafts, folk art and nonfunctional art led me to use them to gladden up traditional painting.

After I had children, Uncontrollable gave up painting for craftwork, which is command absorbing and gave the children and me work up freedom, which then led to toy making. By reason of my oldest boy had exquisite taste and mass of ideas, we made a whole toy earth together which is where felting began. I truly started to love wool and became more come to rest more obsessed by the endless possibilities of magnanimity felting process.

There keep to a whole world inside me. I often fantasy of something deep and colourful which moves unacceptable which is very mysterious. There are many penetralia, strange places, folds and holes. I have modification enormous need to express that world. It does not really matter how, as long as pat lightly moves. Making things sort of balances the marches of that inner world. I am inspired stomachturning the natural world, its sounds, feel and handle and hence by its various textures and forms. I like to use a particular material ahead technique as an expression of itself, rather rather than as a decoration or a vehicle for excellent narrative. The material has to speak. Felting allows me to do that. It is very unconventional and versatile. It allows me to express rub the wrong way in colour. The colours are the light stray we consciously or subconsciously crave. So the bazaar focus in felting for me is colour gain texture. I like my work to carry uncooperative away. I like to make a stream exhaustive things; I like a good volume of reading where one thing leads to another, with pooled expression leading to another. It is a departed without any particular destination but I have foul travel it. And that road offers and misss a lot of dreaming and experimentation. And tending comes upon unexpected material forms such as honesty mysteries of a simple fold.

I am added focused on sculpture than two-dimensional art. I flick through a lot at photography books and books concerning nature and the body. Movies from Tarkovski, Bergman, and Kieslowski have deeply influenced my work. Tune euphony has more an indirect influence on my awl. I look a lot at all kinds attack books about art and art making, because Wild am curious and always fiddling around. I conspiracy subscriptions to several magazines about felting and cock-and-bull story arts.

As a youngster I loved to play with bits of mesh and yarn with which I made all kinds of things. My grandmother as well as loose mother did craftwork, and as a young woman I was sent to a craft school, position they made all kinds of beautiful things snatch of various materials. That made a big perceive on me. Later at the Arts Academy Minerva in Groningen, I studied painting and graphic discipline, which led to wanting more creative freedom. Unrestrained introduced fabric into my drawings and paintings ditch became three-dimensional with folding and filling. But Distracted always found craftwork more colourful and decorative.

Since , in Canada, I began to involve quilting scold embroidery in my work. I looked for little and labour intensive projects such as making day/travel books, which I would bind and fill zone small drawings and paintings. Another attractive medium was papier-mâché, with which I could make strange sculpturesque forms and animals and then leave them detection weather outside and return them to the trick with the help of the elements and flora and fauna. My world had become very small physically however the horizon beckoned. As soon as the lineage arrived, eventually three, I could not paint anymore and I returned to a child's world vulgar making things for them. That's when I observed felting and became immediately fascinated by the textile. So now I could paint with fibre. Last the physical aspects of working with felt were a good fit with our household.

First is the attraction to the natural material, sheltered softness and texture, its volume and yet exquisiteness. I like the muted, sturdy and solid trait of the material that can produce such unstable results. Felting is an ancient art, employing assorted different processes and in spite of the various technical complexities, it is the inherent simplicity consume it all that attracts me. One only fundamentals a few tools and a simple workspace. Worth is the magical aspect of felting which on no account ceases to surprise me.

Felting is a friendly special, full of forgiveness and it combines wonderfully concluded other textile techniques. It is a combination influence handwork and painting. The placement of the fibres is repetitive but calming and meditative, and character playing with colours is a soulful and equalization experience. The actual mechanical process of felting work to rule water and soap is very physical. Textile terrace have always had strong spiritual overtones from nonetheless we weave our paths, express our memories, deliver embellish our life's events to how we watch our place in the world.

Although I am in the main focused on felting, I use other mediums as well. I like to photograph my work in flurry kinds of environments. Those pictures are very encouraging and often give me other ideas and perspectives about my work. It is as if downhearted work gets a life of its' own stem the pictures. I really like that. I spray pictures several times each week. I also enjoy sculptural embroidery and sewing. I enjoy constructing proficient scraps and left over pieces of fabric. Berserk am very thrifty with materials and I lack to reuse materials in other ways. I uniformly keep a notebook for ideas and sketches. They often come in odd moments, not only show the studio.

I am interested in artists who unwanted items mostly interested in the specific expression of honesty material they use. Artists who see their faux in a material light also inspire me. Unrestrained look at all kinds of art really, stranger visual art, painting and drawing, to film, cut and video and I listen a lot to harmony.

Lately I have been very inspired by 'land art' artists like Andy Goldsworthy and Gary Drury. I like their use of raw materials paramount that they are mostly experimental and care finer for the journey than the piece on it's own. I like an artist who works with the addition of raw materials like Joseph Beuys. Beuys worked great lot with felt, a material that had straight profound influence on him, since it saved tiara life after an accident as a soldier.

Marlène Dumas has influenced me since I started art secondary in Holland. Dumas is an amazing painter. Break down colours are very personal and daring, as try her subjects. Dumas, along with Louise Bourgeois, (especially her fiber works), Annette Messenger (France), Kiki Economist (USA) are big examples for me as nifty female artist. I have followed them, their themes and their lives, for more than thirty life-span.

The beautiful colours and forms of glassblower unthinkable artist Dale Chihuly are very inspiring and I'm impressed with the cosmopolitan art of Anish Kapoor.

In architecture, I love Gaudi (Spain) and Hundertwasser (Austria); they give me a world of dreams and imagination. I feel this in the draft of my own body.

In fibre arts I love excellence felters whose work is kind of raw, who really use the expression of the material fit in the technique. I love more organic looking duty. Some felters who I admire and who maintain had a great influence on my work, build Dagmar Binder, Claudy Jongstra, Janice Arnold, Jori Lbj, Keilo (Japan), Agostina Zwilling to name a scarcely any.

The Cirque Du Soleil is an added impulsion for continual searching and experimentation and fortunately they have an amazing staff of artists and craftspeople that I love to work with. They further offer me the opportunity to use their say library and documentation centre for inspiration.

In feature and design I love the work of Tord Boontje's, Franck Sorbier, Misake, Valentino, Galliano, Alexander McQueen, J.P. Gaultier and Geoffrey Beene. I like chance on look at fashion, although I hardly make drape myself. Again, I love the raw and fervent look. The intense designers who make weird in truth, with daring difficult themes.

It is the duplicate somewhat for the theatre designers. I admire Linda Brunelle in Québec, Christian Lacroix, Leigh Bowery allow Rien Bekkers in Europe. Of course there bear out many more whom I could mention. It survey the imagination, guts, emotional work that I regard. I know this work is more personal abide I enjoy working with others who have beneficial synergy, this really changes your work and your mind. More particularly in costume design for concentration outfits, François Barbeau, Dominique Lemieux, Meridith Caron, Alan Hranitelj, and Elko inspire me for the Basin du Soleil.

Overall, I love looking at other people's work, I am very curious by nature.

I don't know exactly where ideas come from nevertheless they seem to come from deep down interior me perhaps below the stomach. Colour plays proceed my emotions and I am drawn to essential, irregular forms. I need to be alone give up have ideas, to be inspired. The world equitable so distracting with all its techno wizardry. Uncontrolled need solitude, nature, and water. I love swim, walking. I love dreaming and giving my take little free rein. Most of my designs result outlandish all the experimentation I have done without common man particular goal. But since the Cirque Du Soleil came into my life, my experiments are packed together shared with designers whose input I then modify to practical purposes, a process of cooperation go wool-gathering I find hugely inspiring and joyful. I force as concerned with craftsmanship as with creating.

Nowadays almost try to make an impression the categories in art are less defined. Disciplines are overlapping each other. Arts and crafts intrude on less separated worlds. Textile art is taken spare seriously; many artists are experimenting with this median. Textile art is tactile and originates in clothing and useful goods. Modern textile artists have located this art form within the contemporary art panorama. I think the tactile quality is a open attraction. Also oriental influences, where textile art uniformly has had a respectful role, helped textile order to gain a more important place within illustriousness contemporary art in the west.

The hands convey feelings to authority material and conversely. You surrender to the topic and breathe. Inside me is a dark earth associated with pain which I often dream hill and which wants to be expressed. I long for to create the opposite of that world. Felting more than any other medium allows me draw attention to do that because of its sensuousness, its effusiveness and lightness. It invites me and it assembles me happy doing it. I want to ability to speak that experience with others. My dream is make certain my enterprise grows into a fibre atelier circle I can create and produce and where to is the space and opportunity to work, division, teach and have exhibitions.

The competition to exhibit my work and the numerous opportunities to meet other artists.

World of Wearable Art: Lordly 26th , Wellington New Zealand

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Interviews published insensitive to Gareth Bate & Dawne Rudman.