Where is the line between art and craft?

The former is admired and celebrated while the latter is often looked down upon with condescension as either manual labor or hobbyist. For some reason in our collective minds needlework and textile often falls into the second category.

A few months ago this question sprung to mind when I visited the tapestry exhibition Tales of Thread at the Custot Gallery in Dubai’s Alserkal Avenue. Gorgeously intricate works bore the names of Picasso, Robert Delauney and René Perrot among others. While the visions were undoubtably those of the artists, in most cases the actual weavings and rendering were made by different hands, and to be honest, the level of skill and craftsmanship is what most deserved recognition in my opinion.

Why are we so willing to call these tapestries art and yet overlook their makers?

On the flip side when people carry out their own artistic textile visions spending hours, days, months and sometimes years bringing it to life, why is so often ranked as mere craftist hobby?

The conclusion I’ve come to is an object becomes art when you treat it as such. Since it is up to us to recognize craftsmanship and give it the spotlight it deserves, I’ve been reaching out to some of my favorite textile artists to highlight their work in a series of interviews.

I have huge admiration for those who spend years experimenting and honing their own techniques such as Alicja Kozłowska, with whom I recently had the opportunity to chat.

Kozłowska is a Polish textile artist reviving Pop Art; she creates hyper realistic sculptures of objects from everyday life using felt, fiber and thread. A member of S.E.W. (Society for Embroidered Work), her work is also part of the permanent collection at LAM in the Netherlands.

Natalya Konforti: Can you introduce yourself for those who don’t know your work?

Alicja Kozlowska: My name is Alicja Kozłowska. I create and live in Poland. I've always been addicted to handicrafts, I started making and selling jewelry, accessories and illustrations for books. I've also written for handicraft newspapers, and enjoy experimenting with fabric using various techniques (sewing, embroidery, crochet, patchwork, tatting).

In 2017 I started creating the felt sculptures that have aroused interest. My goal with these is to make the viewer realize art is contained in even the most obvious objects. My inspiration is everyday consumerism, showcasing popular and well-known brands from around the world that have permanently entered the canons of mass sales and the world of advertising.

NK: Can you walk us through your creative process?

AK: I look for mass production items that have an interesting shape and recognizable logo which can also be a tool for articulating ideas. Felt pattern is my base. This is the most difficult, technical stage. Depending on the purpose, I use different fillings and fixing techniques. When the skeleton of the construction is ready, my favorite most creative stage, thread painting begins. I embroider by hand and using a sewing machine with open toe embroidery foot.

Most of my works are real size, with a few exceptions like the Chupa Chups sculpture.

NK: Of which piece are you the proudest?

AK: The sculpture ‘Andy’, a banana peel inspired by Warhol’s work, is particularly close to my heart it was my first piece exhibited at LAM in Lisse, Netherlands.

I also use ‘Andy’ in many of my interactive ‘performances’ at museums, shops, on the street and even at the opera. By placing sewn works into various environments and observing the responses, these performances force viewers to think more deeply about the problem hidden in my message. My goal is to surprise and involve the viewer; I want my audience to become part of the art I create. Most shied away for fear of slipping, while others just enjoyed.

Despite the fact that mainstream pop art is sometimes considered out-of-date, I created ‘Andy’ as a modern-day look at pop art that still surrounds us in life and work.

NK: On the other end of the spectrum, I find failures to be an essential part of the process, a bit like stepping stones. We always put our best foot forward on social media and it is easy to imagine that things come easily to others. Can you tell us about your biggest challenge?

AK: Okay, let me tell you, there is something that has made my life difficult and I am sure that it is difficult for other emerging artists, which is creating a good portfolio. In the beginning it was hard for me to discover what to put in there and what the potential gallery or buyer is looking for. And yet the portfolio is the most important element to every creator.

NK: When you look back on your career, do you see any notable turning points? 

AK: My career, or rather my development, is still is still on-going, but looking back, I must admit that two moments mixed up a lot in my life. The first time, when I was noticed by Mr. Xstitch, and the second when the LAM museum of modern art became interested in my works.

NK: I myself came across your work on Mr Xstitch and I see that you’ve been featured in many other wonderful publications and in permanent museum collections. Do you have any advice for budding artists who want to get their names out there?

AK: Both of these situations were a big surprise to me. I did not realize that my work can be noticed and appreciated.

It is very difficult to give one simple piece of advice. I think that you should express yourself honestly through your own works. Take advantage of the opportunities offered by everyday life, be open to initiatives and suggestions without assessing them from the perspective of direct financial benefits. For example, I worked with foundations supporting people with disabilities and participated in an international initiative called #iclapfor (started by great jeans artist Ian Berry) to express gratitude to doctors during the pandemic.

And the most important thing is to create and never give up, someday there will be someone who will understand and appreciate your works.

NK: What was your best investment for your career as an artist?

AK: I think the most important thing is time and willingness. Before finding my own artistic path, I used the knowledge and experience of my professors and visited a whole lot of museums around the world. I took part in artistic events, absorbing everything related to art. I believe that only with a solid foundation you can start searching for your artistic self. 

I believe that everyone, not just beginners, should search and experiment as much as possible. Don’t focus on just one technique. I experiment every day using materials in a manner inconsistent with their intended use to discover new possibilities of application. Recently, I started combining fabrics with resin, the effect is fantastic!

If you lack inspiration and have the impression of repetition, take a step back. Forget about trends and just start creating. As Andy Warhol used to say: ‘I just do art because I’m ugly and there’s nothing else for me to do.’

NK: How has covid affected your work and creating during lockdown?

AK: The period of the pandemic for me, as probably all other artists, has two faces. The negative side is that most of the important temporary exhibitions in museums had to be canceled. Art fairs (especially in the US) closed, and I had difficulty running the performances planned for weeks. The positive side is the possibility of focusing on new projects and fully devoting myself to creative work.



Alicja Kozłowska's work will be included in The Textile Society of America 17th Biennial Symposium from October 14-18th 2020 at Mobilia Gallery (Boston, USA). She will also be participating in a group exhibition at Artifact Gallery next year (New York, USA). Her work is featured on display in the permanent collection at LAM (Lisse, Netherlands) and can also be admired on instagram @alice.kozlow and her website www.alicesidea.com.