“Aesthetically, my art is about texture and the reflection of the light,” explains French artist Sebastien Courty who now resides in New York. By using traditional methods he aims to create “the fibres and textiles of tomorrow,’ resulting in immaculate and luxurious work that is in both public and private collections internationally.

Firstly where are you based and where do you work?

My Studio is based at “Industry City” in Brooklyn, New York. It is a huge development complex near sunset park, literally a city within the city with an exciting community of artists, makers, design professionals and more. https://industrycity.com/visit/explore/sebastien-courty/

What is your background in textiles?

I had the chance to join “Les Beaux Arts de Paris” to explore different facets of art, especially sculpture. I then transferred to a fashion school also in Paris, where I started experimenting with textiles. I quickly realised that fashion was not my cup of tea, but, textile, definitely was! 

I moved to New York shortly after to attend “The Fashion Institute of Technology” in Textile and Surface Design and became fascinated by the diversity of craftsmanship and versatility textile offers. 

Can you talk me through how you work?

For the collection of “Totems – A Wall’s Jewelry”, there was a lot of research and analysis to do before the weaving process. The first and essential step was to gather all research, information and images for the mood board. This step helps me get a sense of the colours, feelings and textures of the theme I am working on. After researching, I then focus my attention on the material I will use in the weaving. I’m not limited to fibres, I select any materials that allow hand weaving for example 24k gold to tobacco leaves.

For the collection of “Sculpture in Motion” it is a different story. The process of creation happened on the spot while the piece of fabric was completely embedded in resin. Sketching was unnecessary, but a pre-selection of the size, textile and colour was a must.

How do you encapsulate some pieces in crystal resin? 

I first paint on the fabric and then cover the whole surface with crystal resin. Once the fabric is soaked with resin I have about 30 minutes to sculpt it and give it the desired shape. Depending on the type of silk and paint I use, the texture of the final artwork differs each time which makes every single wall sculpture unique. For example, silk organza is much more bouncy and gives larger volumes than a silk mousseline.

How do you describe your art? 

I found that the most important aspect of my art is when my concepts and research open people up to a different way of thinking. 

Aesthetically, my art is about texture and the reflection of the light. It is about reaching a new dimension, where design meets art in a different perspective. I like to see my creations in as many forms as textiles allow it to be transformed into.

What is it that appeals to you about textiles? 

Using textiles as the main medium for all my projects is first and foremost a design approach that opens possibilities to collaborate with architects, interior designers as well as private clients. The play of texture, material and colour allows me to reinvent textile constantly by using traditional and ancient crafts such as weaving, embroidery or batik. Creating “the fibres and textiles of tomorrow” and pushing textiles to the front of the art scene is essential to me. 

Some of your work is woven from sterling silver and 24 carat gold. What gave you the idea to use such luxurious materials? 

Gold and silver can be shiny or matte, strong or delicate, rough or refined, in other words a perfect tool to create texture. Going back to my previous answer, my art is about texture and most importantly about reflecting the light. In addition to being highly reverberant, gold and silver are naturally composed of several hues of colours.

Last but not least using 24 carat gold and sterling silver threads literally makes my work a “Jewelry for the Wall”. 

I know this is hard to answer but how long does a piece take to make from start to finish?

It all depends on the thickness of the threads and on the material used in the weaving. Every single stage is carefully handmade. Counting the research, production, the finishes and the framing the whole process of creation is about one month for one Totem, depending on the size of the commission of course. 

Do you have any advice for aspiring textile artists?

Textiles is too often underestimated and the amount of wonders we can create out of it is what makes textile a medium like no other. My advice would be to always have a concept, a thought that will elevate your creations and designs. Tell a story and make it educate. Keep doing what you do, it will make a difference.

What are you most proud of in your artistic career so far?

I am mostly proud of doing what I love. Collaborating with so many different minds around the globe is such an inexhaustible source of inspiration. My recent commission from the iconic Bell Labs now known as Bell work is one of my biggest projects. I also have a few other projects in the Middle East, which have yet to be completed…so stay tuned!

www.sebastiencourty.com

https://www.instagram.com/sebastiencourty