talking ceramics     Summary peer-reviewed chapter in Bloomsbury academic publication 2016     keramische fenix_ekwc     PDF summary of publications on material based making in 2015     3D weaving interview     The skin on milk 2013     Ode to earrings 2013     The economy of the line 2013     Image and language 2013     computational methods 2013     transnatural 2013     collecting and morphology in Art and Sciences 2012     The WOW! factor of Paper Biennial Rijswijk 2012     Postmodern taxidermia 2012     Computer design, six yards Dutch wax print and narrative African traditions 2012      cowhides and gold 2012      A world of glass 2012     webeditor for BOUNDLESS program     Travelling exhibition 'Golden Clogs Dutch mountains' 2012     Dirty Applied Art and Crafts at Sandberg Institute 2011     3D printing - the craft of the 21st century 2011     Interactive connections of humans and technology 2011     Jewellery maker Ineke Heerkens 2011     Textile Lab AUDAX 2011     Lace - fragile threedimensionality 2010     Laser cutting in the making of a book 2010     Heat in modern textiles 2010     Mapping Dutch Conceptual Crafts 2009     studio talk with Andrea Wagner 'Tales of migration' 2010     The colour green of jewellerymaker Ineke Heerkens 2008     Kaunas Art Biennial 2007     Beyond Material 2006     East meets West 2005     Bauhaus revisited 2005     American Pies 2004     
 
The skin on the milk
Introduction to the catalogue of the third edition of the Rijswijk Textile Biennial 2013
The visual memory of touch
Initially it is a slippery, shiny layer on hot milk. When fished out of the cup, dangling from the spoon, it proves to be a surprisingly tenacious substance. Draped over the edge of the saucer it forms interesting folds and wrinkles. Any contact with lip or tongue is for many people abhorrent. Just reading about skin on milk can bring on the impulse to retch. This reaction can often be linked to memories from childhood. What artist would not want to effect such an intense reaction – preferably with a positive charge of course – with his/her work?
The violent reaction to a layer of congealed casein illustrates how strong our visual perception is allied to touch, memories, associations and visceral emotions. But what do sight, skin, touch and gut feelings have to do with textiles?
Textile art not only appeals to the visual perception but also to our largest organ – skin with its tactile sensors. In just one square centimetre of skin there are 7.5 million cells, 245 sweat glands, 25 hairs, 2.5 metres of blood vessels, 7,500 sensory nerves and 8 million microscopic organisms. The most precise sense of touch is located in the fingertips,...

www.museumrijswijk.nl/rtb2013/catalogus01ENG.html