Eksperimenter og udforskning

Min tilgang til tekstildesign er rodfæstet i min oprindelse – de nordiske landes tekstiltraditioner og teknikker. Generelt søger jeg at skabe en større bevidsthed og forståelse for tekstiler. Jeg prøver på at gøre vævning nemt og tilgængelig for deltagerne og samtidig give dem en mindeværdig oplevelse og tilfredsstillende produkter som resultat. I alle mine projekter beskæftiger jeg mig aktivt med stedet, rummet og de mennesker, jeg arbejder sammen med. Jeg lader hvert projekt tage sin egen form baseret på de givne betingelser. Jeg skaber rammer i forskellige former, som deltagerne kan udfylde baseret på deres egen kreativitet. Disse rammer er i form af forskellige værktøjer og fysiske rum, hvor folk kan bo, skabe og interagere med hinanden på tværs af nationalitet, alder, færdigheder og baggrund.

Citater om Rosa – præsentationer fra Mindcraft 15 and 16:

“As a consummate craftswoman Rosa Tolnov Clausen is passionate about weaving. In her creative work, she examines the classical craft and explores how it can be used and viewed relevantly in the present. In a working process thriving on experimentation and exploration, she puts to the test materials, methods and tools, to arrive at aesthetic qualities, partnerships and products that, from the combination of these conditions, appear with new functionality and purpose.”

“In an analytical and systematic working process driven by experimentation and exploration, Rosa Tolnov Clausen tests new materials, methods and tools with the goal of arriving at new and unexpected aesthetic qualities, surprising partnerships and products with novel functional features. When a weave is taken off the loom, she is often intrigued to see the back, which has remained hidden until then, and which represents the wild, unplanned side of an otherwise carefully planned and rational process. In her creative work, she focuses on Nordic weaving traditions and takes them into a contemporary context, exploring what happens at the intersection of the conceptual core of a project and traditional techniques. Many of her projects have a strong social component, where weaving is used as a tool for people to engage with, learn about and relate to textiles in interactive, aesthetic and tactile processes.”