ETN residency at the Textile Centre Haslach
Report by Eva-Liisa Kriis and Julia Rademacker
1. - 15. August 2022, Haslach, AT

Report by Eva-Liisa Kriis

I am grateful that I was chosen to test the dobby Looms of the Haslach Art Residency Program. My previous experience with these Looms was enough to use this technology on my own. My daily weaving programs are Weavepoint and Complex Drafting.

I visited Haslash for the second time because my first visit was in connection with my master's thesis scholarship in the summer of 2021, when I wrote my research on the introduction of Dobby looms in Estonia. In this regard, I really wanted to know where
Estonians got their inspiration for making looms.

The great opportunity of the Haslash art residency was the many displayed threads in different techniques and natural materials. Also, the black-white-gray color scheme suited me perfectly. Since I, as an artist, make and design scarves intended for winter wear, I first used mostly all woolen and soft yarns. So for two weeks I could easily weave and experiment with different tie-ups and different looms. In addition to Dobby looms, I also used Table looms, as their construction and structure was of great interest to me. I myself have taught a course on making table Looms from wood. So I was very curious and inspired by the Haslash Table looms that had 8 shafts, mostly the thread was applied to two booms.

The second object of interest for me was the ARM loom, whose dimensions and functionality are very good, and on which weaving is smooth. In addition, I liked thatteaching weaving with them is much easier than with regular countermarch looms.

It was a great experience to use Susanne Heindl's (Susi) loom, on which it was possible to set different thread tension. On this loom, I did a small working sample all day. It was also inspiring to visit Susi herself, where she introduced me to her exhibition
works and creations.

I have always been inspired by the Haslash archive, which I also visited on this occasion. Although when I got home, I noticed that I still didn't record some things and I hope that I can visit the Haslash archive in the future.

Our group, Kristina and Julia were just a perfect match.

In the end, I got a lot of experimenting, weaving and ideas for organizing courses at my craft school. I concluded from our evening sittings together that no matter where you are in the world and what you do your artistic work, we have similar problems and pain points and joys and it is so good to exchange our thoughts and support each other regardless of nationality, origin or distance between countries.

Report by Julia Rademacker

FOLD UPON FOLD
Fold means to reduce, decrease and shrink a surface. Unfolding means growing, increasing and gaining volume. In a constant interplay between tension and release, the fold creates a dynamic and vivid surface into the fabric.

During the residency I extended my research on the imitation of textile objects in virtual spaces. In those mostly static scenarios, textiles constitute the moving and dynamic element. A quality that is illustrated by the evoked feeling of movement and represented by the formation of folds. In my previous research, I focused on the construction of the fold based on computer programs used for virtual textiles. These commands resulted in the aesthetics of the fabrics and the type of folds. I used the time during the residency to focus more on binding techniques and the construction of the surface as such and to work more independently from the hyperreal aesthetics of the virtual textiles. My gain was to translate the moments of diminution and growth, the feeling of movement, dynamism and vitality into the fabrics surface. Therefor I worked with a industrial Jacquard weaving loom. The technology of Jacquard weaving
is based on the binary system of 0 and 1 and is thus considered the forerunner of the first computer. Working with the computer-controlled Jacquard loom, which combines newest technology and oldest craftsmanship, serves as perfect medium for my research and its interplay of analog and digital components.

Having two weeks of daily access to such an insane machine means a lot of latitude and freedom for experimentation and many trials. So it‘s not surprising that I was able to go home with a large number of various samples. This would not have been possible without the great help and impressive knowledge of Andreas Selzer and Elisabeth Stötzler. From them I learned both technical aspects of the loom and the software for creating the bindings. In general, it should be said that the people on site have a great part to play in order to have a wonderful stay during the residency. Therefore I would like to thank Christina Leitner and Andreas Selzer for their
general support before and during the stay. Also being surrounded by two other residents was absolutely enriching. Many thanks to Eva-Liisa Kriis and Kristina Six for giving me insights in your work and for sharing ideas, thoughts, wine and beautiful moments.

As a textile designer, I think that access to machines is often a big challenge and a hurdle to translating ideas into tactile fabrics. Jacquard weaving in particular involves machines and programs that you can‘t simply own and use yourself. So it‘s a real luxury to be able to use such a machine on your own for two whole weeks and get the space to experiment. I can only warmly recommend this residency to everyone.