What was your process of working with the hair in Raumkleider? In the production there is no design, only my fingers, groping, feeling, laying, sewing. In the beginning, I have no concept in my mind. I leave the work to the hands. Fingers have their own intuition and can communicate directly with matter. They sense the surface structure, the direction, the force of gravity, the friction, and try to get a ‘grip’ on it. The greatest art is to let the hands do the work. To step back from leading with your eyes, and letting your hands do the shaping. Each material, be it fibre, hair, or seed, requires a different method, a new sewing technique and its own form.
This is also a daily exercise for me. I hold materials in my hand that weigh nothing, that are partly untameable: hair and seeds don’t necessarily want to be in pockets. I learn to deal with the “nothing” in my hand. This sensitises and charges — electrostatically or electromagnetically — and can be very exhausting.
But it also changes perception. This altered perception feeds subconscious images, which then collaborate to inform the final work. A process arises where the external world of matter interacts with that inside my body. These processes are very difficult to describe with words, but I can best describe it like this: when your fingers do the work, the results get under your skin.