I look deep into the faces of these old photographs. The tabby silk is hypnotising me. I’m trying to unriddle the secret of their eyes and approach their mind, their thinking, and their culture... I understand- it is impossible; the only right that I have is the right of a beholder. It is the same if you try to catch the water flawing in a river or fast-changing movement of the clouds in the sky... Clouds! Sure this is exactly it! The chaotic movement of the clouds in the sky-this is what this silk reminds me of!
I cannot stop thinking of these women. Living their secret life, they are trapped into the intricate pattern of the beautiful ikat. This pattern is the background of their routine and everyday life. Like a secret code it separates them from the hustle of a modern civilisation, from an irritating transformation of a material world of fashion.
These women are dressed in the same way, as they were 100 and 200 years ago. We can see them now in Uzbekistan and Afghanistan, Iran and Africa and in many other places, where Ikat silk was brought by caravans of The Great Silk Road.
These women are the inspiration of The Trapped Collection. In my paintings they are standing behind the colourful stripes of the beautiful Ikat silk. Their hands are open for contact, but the beauty of the feminine figures are trapped into the restricted origin of their culture. Are they rescued or are they trapped? This is the question what still is in my mind...
“Abr”-the Persian word for “CLOUD”-is also quite appropriately the traditional name of Central Asia’s most prestigious and beautiful silk fabric-IKAT. Like a cloud, its parameters have not been overly restricted and the ikat of Central Asia may display a great variety of patterns.
However, the single feature shared by all of these extraordinary textiles is the complex dyeing process, which is undertaken before the individual elements are arranged upon the loom. All ikat cloths have either their warps, their wefts or (in rare cases) both warps and wefts dyed only in selective areas and only before those threads have been placed upon the loom. The process of preventing the dyes from penetrating the entire warp or weft is known as ‘reserving’ or ‘resist dyeing’ and this produces the essential characteristics of ikat cloth. At the points where reserved (undyed) areas meet the dyed sections (or where one colour meets another), carefully controlled amounts of colour merge with one another randomly creating subtle, slightly blurred patterns. This dyeing technique ensures that each ikat is unique; each nebulous area of conjunction differs slightly from the others and it is this aesthetic quality, which suggests an analogy with clouds.