Julia CREțULESCU makes the artificial tissue sexy

The art of fiber everywhere these days, if you do not hear. This trend tends to work with employment and work manually, and it is preferable to popular traditions and natural fibers-which is hardly no one of us facing fibers in the wild.

GIULIA CREțULESCU’s work on manufacturing from more knowledgeable materials: artificial tissue. It is its sources from the Ford Motor Factory near its hometown – Craiova, Romania – which calls for things from cheap seats. It is rare to see such surfaces everywhere without a single stain. More impressive, CREțULESCU managed to make materials exciting in one way or another.

This has a great relationship with all the tapes that hang from their works, similar to slavery. The scale: its geometric shapes, installed on the walls, are almost the size of the trunk. The tapes include artificial security belts that are reset and other supplies that are complexly designed. With CREțULESCU craftsmanship, it is difficult to know the difference between existing and fabricated elements.

CREțULESCU recently completed a doctoral program in the arts arts in Bucharest. Its training is evident in the outlines that resemble shields, as if it was at rest. The sewing began after the frustration of the graphic design, which was on a computer, “walking very quickly”. She works with her hands, she found a “breathing place”. Then, it doubled the resistance of efficiency, I decided not to make anything function at all.

Before using Ford FABRIC, CREțULESCU used a compressed cotton, which led to more similar abstracts that resemble the lawsuit. They are undisputed and designed in a wonderful way, made of materials that I bought as pioneers, and therefore you will not find them again. This is deliberate: CREțULESCU Demelicity of how clothes accumulate in waste burials, and artificial fabrics resist deterioration. “I love fashion, but I can’t bring more clothes to the world,” she said, when we spoke, shortly after her return to Romania in the wake of an impressive show at the New York Fragments Gallery.

I grew up in the auto industry city, CREțULESCU became particularly fond of motorcycle equipment. “It is very graphical, very close to the body,” she noticed, describing the lined jackets designed to protect the spinal cord. These features began to stand out while struggling with her health concerns, which led her to think about motorcycle equipment as contemporary shields. Also entered the medieval shield, fascinated by the way to strip the anatomy in graphical engineering.

CREțULESCU shapes develop in graphics, then make patterns. Although it is inspired by the shields, the idea of ​​carrying out the serrated angles in the metal struck them as unpleasant and unpleasant ends, has a great possibility to cause a prevention to be injured.

Her process shows that she is not only thinking about appearance but also her work. This gives it an advantage over these minimums who wanted to make art that viewers share their bodies as much as they are with their brains. Often, they did this in shapes and materials that were cold and inappropriate, such as metal squares. CREțULESCU works permanently you feel in your bones.