Gea van Eck is a is a Dutch textile artist, born in Leiden. She has mastered multiple techniques, including painting with egg tempera, printmaking, and needle felting and prefers to work in wool. Here she tells us more about her involvement with the Loops exhibition.
Wool is my medium of choice. I fell in love with the versatility and look and feel of the material. My objects are soft and cuddly with a confrontational twist. I use wool to emphasize tactility and warmth and sometimes add acrylic resin for contrast.
My working process is very time consuming. I worked on the Pieta, for example, for more than a year. I stab in wool with a single needle. Thousands of tiny pokes eventually generate a sculpture. I regularly work with my eyes closed, relying on touch to determine the shape. The process of poking is alternately artisanal and meditative. Every element of the piece absorbed the thoughts and events of the time I worked on it
How did you get involved with the exhibition Loops?
Monika Loster is the initiator, I knew her from another exhibition and she asked me to participate.
How did you find responding to the theme of Loops?
I find them everywhere so it came naturally to me.
What loops inspired your work in the exhibition?
In my artwork I often take a metaphorical approach. I found inspiration in the circle of life: previous and next generations.
What is special to you about the exhibition Loops?
Meeting new people co-create in a group with equal voices, watching our installation grow. Make something I would never have made on my own.
At the beginning of this week I saw a collection of wonderful weird items. Not necessarily matching. Not in colour, although we tried that, not in shape, not in intention nor meaning. We had no real plan or project description. Making an installation out of our works felt like a big challenge. Then I realized that the process of simultaneous preparation and synchronization already is an installation. And it can only get better.
We are a group of individuals bringing pieces of our heart trying to combine them into a bigger picture. Isn’t that comparable to life itself? Every community is a collection of weird, wonderful creations trying to form a unity. Our installation is a like village, a city, the world. Interacting, reacting to others.
Have you ever worked collaboratively as an artist before? What have been the challenges and joys this time, or for the first time?
Working with six equal voices was the first time for me. I found it much easier to sync in real life than online. Of course we all had to make compromises, but mostly it was about the pieces and making them sing. I loved getting to know each other and observing new approaches and techniques. I think I’ll maybe incorporate some of the techniques in my repertoire. I learned so much, also about working together, sharing the spotlight and discovering boundaries.
As an international visiting artist, what do you think of Leeds?
Farsley has made a lovely impression. The people we met were so thoughtful and kind and the restaurants we’ve been to were great. About the rest of Leeds, I didn’t have time to get to know Leeds at all but I’ll definitely be back another time.
What has been your experience of creating art at Sunny Bank Mills?
I felt so welcome and loved. The team at Sunny Bank Mills is amazing, they all seem to love the place and I can understand why. The community feels fantastic. There were some great technicians to help us. They were very helpful and there was so much that was possible. We were given a lot of freedom to try things out. The lunches with the whole team were great. I’m so grateful for this experience.
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