Andie Grande was born in Italy and moved to Australia when she was 10 years old. She now lives in Paris where she creates her “sculptural free weaving and assembled” pieces with materials that are often discarded in our throw away society.

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

I was born in Italy and migrated to Australia with my family at the age of 10. I currently live and work in Paris, France

What is your background in textiles?

 I studied in Australia where I obtained the Higher diploma of Teaching in the arts, literature, and languages. I subsequently realized that I wanted to be a hands-on visual artist. I arrived in Paris to attend the evening ADAC workshops provided by the Paris City Council.

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

As a visual artist I started out with painting, sculpture, drawing and mosaic. It’s through sheer accident that I find myself in the field of fiber art. However, I must confess that I grew up in a small village in Italy surrounded by women who, during the long snowy winters spun wool and assembled pieces of fabric and lace to create amazing configurations. They constantly undid the old to remake the new. Nothing was lost. I had the wonderment of a child at the way tufts of wool became threads by a simple dervish dance of the spindle on the floor, having none other at the helm than my grandmother’s hands. I played with scraps, yarns and the like. Unbeknown to me this is where it all started: I developed a tactile love for fibers. Working with this medium I’m discovering its infinite potential.

What techniques do you use?

I would describe my technique as sculptural free weaving and assembling, and I enjoy experimenting with nontraditional methods and lowly materials.

How do you describe your work?

I was influenced by Teilhard de Chardin. In his book “The heart of matter” he points out the intelligibility of matter. Contrary to common belief, matter is not inanimate, but endowed with a life and energy of its own. This changed my whole view on the things around me. As a result, I stopped painting and started working with common wrapping string, doing simple monochrome compositions. I discovered that unlike the so-called ‘noble’ fibers, it had a virility, a strong character and energy of all its own – which I loved!  

The environmental side to my work is also an accident. The Director of AgroParisTech the tertiary college for environmental scientists where I gave lectures on art and conducted visual arts workshops asked me to give a lecture on environmental art and conduct workshops that endorsed the ecological transition of recycling and upcycling. One day I asked the students to go to the local market and gather as much junk as they could find. This is where I started integrating color to my monochromes; I use discarded synthetic vegetable bags. These are very colorful and malleable which provide an interesting contrast to the plainness of the wrapping string.

Working with these humble materials focuses my attention to the way we relate to matter and the sadness of our throw away culture. I’m interested in considering how useful these everyday materials have been and how easily we overlook them and discard them. In doing so, something is broken in the way we connect to them. Something precious is lost. Thus, my inspiration stems from the desire to rescue these materials from oblivion, from the narrow, purely useful viewpoint and acknowledge their contribution to our well-being,  

How do you create a piece?

I start by simply touching the materials, listen to them and feel how they would like to be assembled. I’m very open to all possibilities. I avoid imposing my ideas. I allow them to tell their own story. From this intimate contact an energy springs forth where, unbeknown to me, a new identity emerges. In crafting these materials, I find myself being crafted. There’s a flow between the “I” and the “other”. The bond is restored, and perhaps, this is where Beauty lies.

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

My biggest piece ‘Ode to matter’ is 146 x123 cm. It has taken me nearly two months to complete.

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

The most satisfying aspect of my vocation is the feedback I get from collectors who tell me how my work has contributed to adding joy into their home every time they look at it. This makes me feel that somehow, I’m making their world a better place by bringing more beauty to it and at the same time rehabilitating those rejected materials which would never otherwise be considered as worthy of admiration. We’re conditioned to believe that beauty is a luxury: personally, I have discovered that it’s a necessity. One collector tells me that he always has breakfast in front of one of my works. It’s this ritual which gives him a happy start to his day.

Do you have any advice for aspiring textile artists?

My advice for aspiring textile artists is not to look for the ‘right materials’ but be sensitive and let the ‘right’ materials find you. For example, if a material catches your eye, don’t turn away, take it in and establish a relationship with it. You’ll be surprised!

http://andiegrande.com

https://www.instagram.com/andie.grande/

https://www.youtube.com/watch?v=AwkejTKsHaM&ab_channel=EvaTaieb