Monique Chmielewska-Lehman「OCEAN 」|永續時尚之旅

|Category:Wearable art
|Material:Wool, silk, cotton
|Technique:Tapestry weaving
|Year:2017
|City, Country:USA

Monique Chmielewska-Lehman_SUSFUTURE2024 國際永續時尚設計展

/Artist 藝術家/

A native of Warsaw and a graduate of the Warsaw Academy of Fine Arts, Monique Lehman is an accomplished and original material art creator, whose work may be found in museum collections around the world (the Vatican, Long Beach Museum of Art, Central Museum of Textiles in Łódź, Prof. Lin Lecheng 林乐成 Fiber art Museum, Beijng and the Space Museum in Cape Canaveral, FL), as well as in many American public buildings, city halls, churches and hospitals. Her creative output continues the centuries of development of unique, contemporary fiber art tradition. When the Pope John Paul II visited Chicago, Monique greeted him by presenting his portrait she wove as a 6x 4tapestry. Since the American TV showed this event on the news, the public learned about the Polish tapestry school. Ms. Lehman shares her time between exhibiting, working on large commissions, and curating art shows. Moniques accomplishment is bringing European visual criteria to America and China. Lehmans biography, richly illustrated with photos of her artwork, was published in Poland.

She developed an original style of three dimensional Fiber Art, mobile sculptures that change shapes, and have a rich palette of colors and textures to express their themes. Her unique passion is Wearable Art.

華沙人,華沙美術學院畢業的Monique Lehman,是一位成就卓越且富有創意的材料藝術創作者,她的作品收藏於世界各地的博物館(梵蒂岡,長灘藝術博物館,羅茲中央紡織博物館,林樂成教授纖維藝術博物館,北京和佛羅里達州卡納維拉爾角的太空博物館),以及許多美國的公共建築、市政廳、教堂和醫院中。她的創作繼承了獨特的當代纖維藝術傳統,經過數世紀的發展。當教皇約翰·保羅二世訪問芝加哥時,Monique迎接他並獻上她織成的6英尺 x 4英尺的教皇肖像掛毯。由於美國電視在新聞中報導了這一事件,公眾因此了解了波蘭掛毯學派。Lehman女士在展覽、大型委託作品和策展活動之間分配時間。Monique的成就之一是將歐洲的視覺標準引入美國和中國。她的傳記《Monique Lehman》,其中豐富的照片展示了她的藝術作品,已在波蘭出版。

她發展了一種原創的三維纖維藝術風格,創作出形狀可變的移動雕塑,這些作品具有豐富的色彩和質感,以表達它們的主題。她獨特的熱情是可穿戴藝術。

Perspectives on Tradition and Future, Sustainability and Fashion, and Life.
關於傳統與未來、永續與時尚生活的看見

Fashion and sustainability are contradictions. Fashion depends on constant change of taste, color,  choice of fabrics . Design is often influenced by the materials available to different regions and cultures. For example, China’s long history in silk production made silk a central element in Chinese fashion. 60% of todays world population lives in cities, they need to buy new clothes. 100 years ago in my country, Poland,  only 20% population lived in cities . Village girls had their own chests prepared for marriage were they stored embroidered linen tablecloths and Sunday dresses. It was family pride and status symbol to help their daughters fill up their painted storage boxes with hand made textiles which they would use till the rest of their lives.

Twenty first century girl is not ready to make all her clothes and wear them for the next 50 years.

My wearable art follows the tradition of hand woven outfits but their purpose is not to attract the suitors. My outfits are made from unraveled sweaters or pieces of old fabric. They are artworks with the memory of their useful past when they were fashionable.

時尚與永續發展往往是矛盾的。時尚依賴於品味、色彩和面料選擇的不斷變化。設計通常受到不同地區和文化中可用材料的影響。例如,中國悠久的絲綢生產歷史使絲綢成為中國時尚的核心元素。今天,全球有60%的人口生活在城市,他們需要購買新衣服。100年前,在我的國家波蘭,只有20%的人口生活在城市。村裡的女孩有自己的嫁妝箱,裡面存放著繡有花紋的亞麻桌布和週日禮服。家庭的驕傲和地位象徵是幫助她們的女兒用手工製作的紡織品填滿這些彩繪的儲物箱,這些紡織品將陪伴她們一生。

二十一世紀的女孩並不準備自己製作所有的衣服並穿著它們度過接下來的50年。我的可穿戴藝術遵循手工編織服裝的傳統,但它們的目的是不同的。這些服裝不是為了吸引追求者而製作的。相反,我的服裝是用拆解的毛衣或舊布料製作的。它們是帶有過去時尚記憶的藝術品,曾經是流行時尚的一部分。

Monique Chmielewska-Lehman_SUSFUTURE2024 國際永續時尚設計展

The Concept and Description of the Work
關於參展作品的創作動機與設計理念

This cape shows  the swell of the ocean wave, where I have my house, in Kona, Hawaii . The sunset is visible under the crest of the giant wave. The dress represents the coast of the island with lava from Kilauea volcano flowing and pouring into the ocean.