30305
page-template-default,page,page-id-30305,page-child,parent-pageid-21669,stockholm-core-2.4,select-theme-ver-9.5,ajax_fade,page_not_loaded,,qode_menu_center,wpb-js-composer js-comp-ver-6.10.0,vc_responsive
Agnes Hansella
TW1_4539-Edit

First of the Gang (2023)

155 x 175 cm

Cotton, velvet, raffia, polyester, wool, faux fur, pompoms and nylon on wood and fiber frame

 

Agnes Hansella

Under Our Skin (2023) 

570 x 425 cms

Manila rope, goni rope, sisal rope and raffia rope on iron frame

TW1_4680

Something in the Air (2023)

200x 190 cms

Cotton, velvet, raffia, polyester, wool, faux fur, pompoms and nylon on wood and fiber frame

 

Agnes Hansella

Corona (2023)

60 x 60 cms

Iron frame, cotton rope, dacron, t-shirt, polyester and pompoms

TW1_4898

Rise Above (2023) 

size varied

iron frame, cotton rope, Dacron, t-shirt, polyester and pompoms

 

TW1_4706

Corona (2023)

60 x 60 cms

Iron frame, cotton rope, dacron, t-shirt, polyester and pompoms

 

Agnes Hansella

Navicula detail (2023) 

60 x 150 cms

Cotton rope and pompoms. on iron frame

TW1_4695 copy

  Phange (2023)

32 x 50 cms

Cotton rope on iron frame

TW1_4685

Navicula (2023) 

60 x 150 cms

Cotton rope and pompoms. on iron frame

Indonesian artist Agnes Hansella takes macrame to the level of fine art through her wall hangings, sculptures and installations that cover entire buildings. Her most recent work focuses around microorganisms.

 

Firstly, where did you grow up and where do you live now?

I grew up in Borneo Island, Indonesia and I’m now living in Jakarta, Indonesia.

 

What is your background in textiles?

I have no background at all in textiles. I studied audio for film during my college days and I also went to Vancouver Canada to study more on audio post production. In 2017 I shifted my interest to textiles because I felt I was restricting myself to only using my hearing sense. I was looking to create something organically with my hands and macramé came to me by surprise. My mother had wanted to learn the craft since the 1970s, but back then it was difficult to learn. In 2017 she was having a joint problem on her thumb and remembered wanting to learn the technique to help her exercise her finger. I helped her find the rope and watched as she knotted. I thought it looked easy and tried it. It was fun although not very easy at all at the beginning. I had to redo a line 4 or 5 times (the hitches) until I realised it needed “just right’ tension, not too hard and not too loose. Everything else I learned from the internet.

 

What is it about textiles as an art form that appeals to you?

It speaks with its textures, flexibility to form and skills, I’m always amazed at what artists came up with in textile art.

I’m someone that doesn’t have any textile education but the feeling came to me. I remember seeing Mulyana’s installation “sea remembers” in a magazine. It was only a magazine, but the lighting, textures, complexity – it really opens my mind on textile art. I did some research after that about textiles, and found out lots of great pieces using simple materials like threads and ropes. One of my favorite artists is Judith Scott.

 

Why do you specialise in macrame?

It gives me the sensation of gripping or holding onto something. I also love that it doesn’t need any tools. The rope expresses different characteristics. It usually doesn’t go as planned and that’s what’s great about it. It requires on the spot decision making. I like that its surprising, the whole process is full of gamble. Ideas evolve at a fast pace, while the work itself is super slow. I like that it always starts with a lot of rope piles but then it transforms into something different. It also came to me as the only technique I feel good at, I tried other techniques but they were all a mess.

 

Do you use other textile techniques?

I use weaving sometimes for textures in a macramé piece.

 

How do you describe your work?

I feel now I have a mission to make humans look or feel small. For me feeling small gives a lot of thought on how to appreciate simple things more, stay grounded and find myself at peace. So in my recent exhibition, it was about making small things seen. I am always learning as I go, and I’m sticking with the macramé technique. I feel my work so far has led to finding a vision of what I want to tell and work the form towards that.

 

How do you create a piece?

In my practice, I try doing something that intrigues me from a knot, shape or material. For example, my frame series (Rise above, First of the Gang, and Something in the Air) wanted to challenge the idea of how macramé is usually knotted on a rod. I also want it to get out of the frame. From there I combined this with my feelings during pandemic and drew a simple outline in my sketch book.

When knotting the real thing, I improvise daily depending on how the shape comes together and my instinct at the time. The process is slow and ideas will keep rushing in. I often take pictures of it and drew some notes on my phone to remind myself of what I wanted at that time. In the end it is also is a mix of what the rope wanted, because there are certain rules in the technique where its impossible to make a straight line and I settled with a curve instead.

 

You obviously need a team to help construct your installations do you have help with your smaller pieces or do you do them yourself?

It really depends on the piece and the rope size. I usually work in my home studio alone. When there’s a piece that I want to make, I kind of calculate the time needed to do it. If it’s impossible to do alone, I’ll look for help.

 

I know this is a hard question but how long does a bigger piece take?

The size of rope plays an important part. For example, my frame series is around 115 x175 cms, but since I’m using 2mm rope with 3D parts attached to it, it would take me around two to three months to finish it by myself.

 

What are you most proud of in your art career so far?

I am surprised that I am still knotting for almost six years now. I think it all began when people believe that I can do it, then slowly it builds up my confidence until I started to believe it too.

 

Indonesia has always been renowned for it’s artisans and skilled crafts and I see you are friends with Mulyana. Is there a big art scene in Indonesia?

I don’t see textile art as something big here, but Indonesia does have lots of skilled crafters. I think that’s because it is in the tradition, usually one village and another are specialized with a certain technique.

 

Do you have any advice for aspiring textile artists?

Try different techniques until you find one that sparks your curiosity the most. Also, I never feel satisfied when I finish something, but I told myself the next one I will do better.

 

Is there anything you would like to add?

I would like to say “Hi” to other textile artists and feel grateful to be able to see their wonderful work through the net.

 

https://www.agneshansella.com

https://www.instagram.com/agneshansella/