For this Member Monday, we will take a break from the summer heat to talk to Qianwen Yu, who explores the connection between what we see and hear through her weavings. Combining modern technology with historical research, Qianwen shows surprising similarities and encourages us to think about how weaving and music are connected.
Textile Society of America (TSA): Can you tell us a bit about your work and process?
Qianwen Yu (QY): In my current works, I start by exploring a piece of music or some weaving structures, observing their characteristics. The final sound or pattern is often unpredictable—it might surprise me, or it might turn out less appealing. However, the outcome, while beyond my control, essentially reveals the inherent qualities of the textile or music in a new way.
I focus on listening to the intrinsic properties of textiles and music, bringing out some of their overlooked features through different methods rather than forcefully altering their inherent structures. I believe it’s important to listen and respect the nature of things instead of imposing my own will on them. Based on that, I explore if there are any new discoveries to be made.
My background in architecture design has shaped my perspective on both art and the world. The concept of structure is crucial to me. In architecture, if there’s a mistake in the foundation or load-bearing elements, no matter how exquisite the exterior design is, the building might collapse. Structure is the foundation of design, but it can also be ingeniously crafted. Things may appear chaotic, but there must be an underlying logic that binds them together.
TSA: Do you have a first textile memory?
QY: My first textile memory comes from my grandmother. When I was young, she wove bamboo baskets to hold various items. These baskets, with their simple geometric patterns and colors, were the first handcrafted textile objects I encountered that served both decorative and functional purposes. She also embroidered different patterns like little chickens and flowers on clothes for me and my sister.
TSA: Do you hear of any misconceptions of your work and if so, how do you address them?
QY: Some people may perceive my work as not typical “textiles” because it deviates from their expectations of tangible fabric-based artworks commonly seen in museums and galleries. While many expect textiles to be physical, each artwork embodies unique concepts. Textiles can transcend physical forms; the “warp” and “weft” used in weaving don’t always have to be tangible threads but can exist conceptually. Textiles can embrace a variety of artistic expressions beyond their traditional forms.
TSA: If you had the ability to master any skill instantaneously, what would you choose?
QY: If given the power to master any skill instantaneously, I would choose to master all types of weaving techniques from different historical periods and countries. Textiles have a long and rich history, with various loom inventions significantly impacting the world in many ways. Additionally, I would love to acquire more architectural design skills, as I see many connections between weaving and architecture.
TSA: Do you see the way that humanity engages with textiles changing?
QY: With the rise of new technologies, traditional handcrafts will likely be more impacted, making physical textiles even more valuable. People will come to appreciate the time and effort invested in creating textiles by hand. Additionally, certain qualities of textiles, such as their touch, cannot be replaced by technology.
TSA: What projects are you currently working on?
QY: Currently, I’m exploring the intersection of music and weaving through two recent projects. One project, Weaving Philip Glass’s Opening, translates Philip Glass’s “Opening” from Glassworks into tangible woven fabric. By transforming auditory melodies into visual textures, the weaving pattern evolves directly from musical notes, offering a unique exploration of repetitive structures in both disciplines.
The other project, Woven Symphony, explores the musicality of traditional weaving. It treats woven fabric as both a map and a score, drawing parallels between weaving drafts and musical compositions. Looking forward, I plan to expand these explorations by experimenting with a variety of music genres and weaving techniques, aiming to further uncover the rich connections between these expressive art forms.
Artist bio: Qianwen Yu, an interdisciplinary artist based in Chicago with an MFA in Film, Video, New Media, and Animation from the School of the Art Institute of Chicago (2020), explores the intersections of visual and auditory experiences through weaving, sound, animation, and architecture, drawing inspiration from 20th-century Modernism. Her works have been showcased internationally at venues like the Black Mountain College Museum and Art Center, Hyde Park Art Center, and festivals across Europe. With a background in architecture, she emphasizes the importance of structure as the foundation of art. Her exploration of weaving and music includes translating musical compositions into textile forms, as well as converting weaving drafts into sounds, exploring the inherent relationship between these art forms. By merging modern technology with historical research, Qianwen uncovers surprising parallels and invites audiences to reflect on the interconnectedness of weaving and music within her innovative practice.
Website: https://www.qianwenyuyu.com/weaving-glass-opening
Social media: @musicofweaving
You must be logged in to post a comment.