series of photographs have as a common thread the focus on the fabrics that are
produced in the same way as in the Voc period with natural indigo. The fabrics
and their colours are visual aspects and reappearing materials within these
series of images. Within the process the different tones of blue are created
when dying the fabrics in big fermentation pots containing natural indigo.
fermentation is a sour smell and the pots are buried underneath the ground with
only the head of the pot sticking out leaving a round gap that opens up like a
mouth. The pots are to be fed with food cooked upon the fire.
sounds of grinding powder, pouring into indigo vats, ash water collection and
the cleansing and the bleaching of Yarn and fabric including boiling lead to
materials that are combined visual material. These photographs and situations are part of
the created poetic narrative one can listen to fragments of sounds part of
new materials such as yarns first seen laying in pots as dark blue creatures.
Later dried up in the sun and covering my body while I sit reside near the
water stained indigo. Somehow blue layers strings of seaweed hiding the face. A landscape of burned palm tree’s created a
potential situation for an act. An Intervention of wrapping the soft fabrics
showing prints of tropical palms around the black burned palms. Who were the personas and figures from archives
could they be symbolized by the shapes of bodies hidden by the same material?
The story of the workers at the village and factory The Colours of Nature is something that left me
with unanswered questions. The history of the place remains mysterious. New
machines and technology where left untouched. The old method of the pots and
natural indigo was where the workers often resided and dyed the cloth. Dipping
them in and out of the pots in the heath of September’s moisture in this South