The reaction of threads to the finishing process is unpredictable, and directs us to rely on natural phenomena, like walking in fog. In this series of fabrics we seek to turn fog into textile material, simultaneously tangible and ambiguous, possessing volume, soft to the touch, and designed in subdued colors. From the range of textures, colors, and sense of being in fog, we create worlds of fabric that provide cover, shielding – a simultaneously vague and sheltering environment.
Fog is a colourless and weightless entity. Yet nevertheless, it envelops and seals whatever is inside it. Thus, by definition, fog posits a paradox, and moreover, a compelling motive for the current project. Our aim is twofold: firstly, we endeavour to transform fog into material, into textile. That is, a material one can feel while still retaining the qualities of a cloud: undefinable and thus allowing each to interpret it in his own way, soft and vaguely coloured. We hope to increase the scale of textures, colours and feelings characterizing fog, and what is more to construct a world encompassing all shapes and kinds of fog. Secondly, we wish to envelop those who walk in fog, bestowing the warmth of cover and cloaked protection on them, an environment which preserves the characteristics of fog while at the same time protecting them from it.
When weaving, the outcome is often very accurately predictable. In this case, curing is totally subject to the reaction of the threads and hence unpredictable. Thus, the entire process returns to its starting point, consisting essentially in relating to natural phenomena and the reactions of materials we cannot control – indeed, just like walking in a thick fog.
"Not only does the cloud liberate those whom it supports from the laws of gravity, but at the same time it shows how profane space may open onto another space, which imbues the former with its truth".
In these words, the French aesthetician Hubert Damisch describes clouds in his book A Theory of /Cloud/ of 1972.
Despite the fact that Damisch relates to paintings in his book, particularly those of clouds as seen on church ceilings simulating the appearance of the sky, we believe this description fits our project most accurately, for what is fog if not a low cloud? That is to say, a cloud that disrupts vision, painting space in thick grey strokes and destabilising the sense of both distance and space. However, as Damisch notes, these disruptions essentially lead to a positive effect, one that may even be deemed transcendent. In other words, the limiting of vision, the all-dominating grey hue and losing one’s way in a space whose rules are alien and foreign – these are all elements that are not necessarily present in their negative capacity alone, for it is precisely these negative qualities that elicit the very opposite result, that is, a sense of the sublime.
 Damisch, Hubert. 1972. A Theory of /Cloud/. Trans. Janet Lloyd. Stanford: Stanford University Press, p. 43.
Jerusalem Design Week 2018
Beit Hansen, Jerusalem
Finalist and Honorary Jury Mention in the 2018 Dorothy Waxman International Textile Design Prize.
Mohawk showroom, New York