Hungarian textile artist Kinga Földi is based in Budapest and was a costume designer before she became a full time artist. Nature provides the inspiration for her beautiful silk sculptures which are constructed from hundreds of pin-tucks. She aims for her sculptures to be “soul-resting objects, in an accelerated modern world.”

What is your background in textiles?

I graduated in 2006 from Moholy Nagy University of Art and Design as woven textile designer. I never wanted to work as designer, I always preferred crafts. Still, the university years were important, because I had the opportunity to discover the diversity of textile art. 

Textile art is much more than applied arts. It’s a summary name for many techniques and fabrics, which offer the opportunity not only to create useful objects but to convey thoughts and messages. Besides weaving I studied bobbin lace making, origami, and had the chance to experiment with many surface manipulating techniques and develop my own as well. 

How do you describe your work?

I create silk sculptures, which resemble floral and animal shapes. My main source of inspiration is nature. I observe nature, its beauties and miracles and let the shapes, scents and colours flow through my veins to the tip of my fingers, enabling me to build up a little universe of plant-and animal-like sculpture-beings.

When I graduated, I had to make a decision. I don’t think I was brave enough to choose this path of sculptures. I thought it was safer to create costumes, dresses and jewellery. For years I have been working as costume designer for theatres and choreographers, creating sculptural costumes. I always had the feeling, despite the joy I felt while creating, that something was missing, I couldn’t express all the thoughts and feelings I wanted to show. It was a long journey, searching for myself, I had all the tools around me, the thoughts in my head, the feelings in my heart, but I needed these experiences, to see my aim clearly and take the courage to put aside functionality and concentrate only on the shape. After years of searching for shapes and techniques, three years ago I felt confident enough to create free standing sculptures.

The shapes are similar to those that I applied on costumes, but I had to develop my own technique to create free-standing forms. It happened only this year, that I finally saw my own reflection in my works.

What techniques do you use?

The technique I use is called pin-tuck. Traditionally it was used to decorate blouses by folding the fabric and sewing every fold. I realized, that this technique enables the creation of three-dimensional objects. Due to pleating a rhythmic striped surface evolves, which can be transformed into petals or leaves by further shaping processes.

What materials do you use and why?

My favourite fabrics are silks, especially those with the crisp feel and beautiful shine. Silk Dupioni has prominent slubs.  It has an almost rustic look, and sticky touch, which seems quite living. I discovered this material at the beginning of my studies and instantly fell in love with it. Sometimes I experiment with different fabrics, but I always come to the conclusion, that silk Dupioni has all the characteristics I need. 

Can you briefly describe the process of creating one of your sculptures? 

First I have to draw, because it helps thinking, but only to a certain point. I draw, and draw, and suddenly I feel, that I’m stuck, I’m not satisfied with the shape, but can’t move forward. At this point, I begin to work with the fabric and it always shows me the way. I start with a simple form, and the fabric comes to life. It suggests something, I wouldn’t have done, but the moment I see it, I know, that this is how it should be, this is the right form. So I don’t stick to my plans too much, because, the fun part is, when a conversation forms between me and the material.

My process has three major phases: preparing the fabric, creating the shape and fixing it.

I have this beautiful fabric to begin with. I amplify its paper-like qualities by applying corn starch on one side. When it dries, it becomes quite rigid. After that I do the pin-tuck, which seems very monotone, but it doesn’t bore me. When I fold and sew the fabric, I smooth it a hundred times. I detect, small details, like, how did the starch work, was it thick enough? Will it be easy to bend it or, I have to soften the material? When I have the prepared the fabric, I begin to move it. I am impressed with the way how the pintucked surface ripples. I want to preserve this dynamism along with the fabric-like qualities of the textile. I play with the rhythm of the folds by pulling them tight or relaxing them, thus creating fan-like shapes. My sculptures are built upon the variations of the change of the rhythm.

The construction of these objects however raises important technological questions. It took me years to find the perfect way, to maintain softness and movement, compress it to a moment and freeze it. 

I use a special textile glue. After few hours, the glue dries and the form stands solid. I build up the sculpture by small steps. I always have to take breaks when the glue dries, and can continue to work. At the beginning I have a concept, at the end, the result might be a little different. I consider a sculpture to be finished, not when I see the exact three-dimensional version of my drawing, but when I feel all views harmonic.

I know this is a very broad question but how long does a piece take?

I work on objects in parallel, sometimes I get stuck with one piece, I put it aside and work on an other. In total it takes one to two months to create one sculpture.

What is your career highlight to date?

The most memorable exhibition for me was the 11th Lace Biennial in Brussels under the auspices of the late Queen Fabiola in 2004, I met many talented textile artists from Europe there. An other honourable event was when I was given the ‘Textile Artist of the Year 2015’ prize by the Cultural Found for Textileart. My most exciting and largest commission was when I was asked to create a 6 m tall origami Christmas tree for Sofitel Budapest Chain Bridge.  

 Do you have any advice to aspiring textile artists?

I don’t think, that I could give any advice. Everyone has to find its own ways. My way was to be patient and to learn to trust my feelings. 

Are there any exciting plans ahead? 

I’m working on a new technique, that enables to create more ethereal objects. You can see the first experiments on my Instagram page. Recently I made a short film of my working process, that you can watch at  www.createday.org. I also plan, to participate in some international and Hungary based exhibitions. The next event will be in Eger, Hungary 6-28th November. 

Would you like to add anything?

Living in an accelerated modern world, among overstimulating devices, never having the chance to rest our eyes and souls, that might be the greatest challenge for humans to concure with in the near future. I think, that we should have the luxury of observing one object slowly. I hope, that my sculptures could be such soul-resting objects.

www.foldikinga.hu  

Kinga.Foldi