Abstract:
Textile art has proposed to overcome the barrier of pure decorativism and ethno-craft interpreting, trying to give a pronounced message. Transposition of traditional, nontraditional or long forgotten materials in modern textile compositions, installations, conceptually grouped, having a good relationship between ethnic and aesthetic aspiration is marked by the spirit of postmodernism in the frontier of the third millennium.
As a rule, the activity of artistic creation is held on the basis of observations in the surrounding environment.
The artist studies the natural form which he transforms, then will use the elements of language in the artistic form. During the study, he will follow the type of material form, its structure, and relations between the component elements. After examination of the exterior form, the object, if possible, will be sectioned for examination of its internal structure.
We may observe that in comparison between the apparent order and disorder, nothing is casual. Each component element has its own role, allowing the ensemble to “function”.
The material structures can be grouped into the following: symmetric structures, asymmetric structures, concentric structures, longitudinal structures, circular structures, spherical structures, cylindrical structures, etc.
