trapped weaves

       Research on weaving and its possible workarounds. The « trapped weaves » are fabrics with a hack in their composition which makes them mysterious and intriguing. The way they work, if applied to daily objects (clothes, hammock, carpets…) could totally change the approach of the object, because some would split when being pulled, others would have unreachable areas where things could be hidden…

       The idea is to push the weaving technique as far as its property (understood like a language) allows it, using its own rules to hack it and create fabrics that challenges our perception and our habits, almost magical fabrics.

Trapped weave#1

       This weave seems, at first glance, totally normal. However, if one pulls gently on each end, the fabric suddenly splits in two parts, without resistance.
       It was the first weave of this series, which has been named « trapped » after it because of what would happen if such a fabric would be used for an armchair, for example.

Trapped weave#2

       In this weave, only the warp is visible. Weft of many kind, thickness, colors has been woven in it, but remains absolutely invisible. It is striking on the picture with a red yarn crossing the fabric, but not showing at all in the weave (of course on both sides).
       Like so, the weft that remains mysteriously invisible, has the role of giving patterns to the weave. It is creating the different shapes, lines and rhythms. In other words, it is expressing/showing from the inside of the weave, as consequence, but not directly to the eye.

Trapped weave#3 aka The Door 

       Here the technique created above (trapped weave #2) is used for a project. The warp yarns are chosen for their colors (old wood and mold shades) to create an old carved wooden door. As it’s shown when the warp is on weaving loom, those yarns will remain the only visible ones. The weft will express itself only in terms of volumes and patterns, influencing the warp. In this project the weft is used to give this « carved » effect to the door, as well as to split and gather the warp in nine different groups, again from the inside.

see project  The Door

       During my internship at the company Aya de Cauville, in Abidjan (Ivory Coast), I had the opportunity to visit traditional Baoulé weavers around the Bouaké area. I was surprised to see that they use the same technique of ‘hidden warp’ in their traditional weaves. They apply patterns directly to the warp, before installing it on the loom. The weft threads come in to ‘fill in’ the weave, from the inside, as if to give it consistency, but it does not modify its appearence whatsoever. As if its role was not to influence its visual aspect, but to transform it from a bundle of yarns to a physical object.