MARIA BRINCH

I make tapestries, sculptures, and paintings.

I combine photography and painting at textile wall-hangings with sculptural mounting rods that I make in wrought iron and pinewood. 

The photographic aspect consists of spontaneous snapshots from my phone. I choose colors from this universe as a palette. If I need a yellow corner for my tapestry, I simply scroll my phone until the desired color appears. It could be from my son's t-shirt, I zoom in, print it out on large woolen fabrics, and then start to paint. And fold them into three-dimensional wall hangings.

Folding materially and emotionally seeks to wind out new versions of a starting point, I can unfold anytime, and the front is brave rather than superficial. It’s the given space of a relationship, a dream - and physical space!

I am interested in how different resources form different dreams, and I prefer to work closely with the blacksmith rather than learning to forge my self. Working shoulder by shoulder with a weaver, a calligrapher - opens up for a body language that becomes a portal for a conversation about other stuff. Talks about lived life and the future to come. 

I see classic ornamental textiles, I drill deeper, there is laundry on cars and decorative wrought iron gates for territorial use. I see leaves waving to tell me it's windy. Aliens on earth saying the sky is blue. Old t-shirts turned into washcloths. 

I see ink, paint, and the peach stone that misses its pulp. There are seagulls and wives and waiters and teeth. Sunglasses for hair bow. Silver jewelry. An atlas on wrought iron and pine.

I see woven house walls of bamboo, a child with an ax. I see the blacksmith's farm, a three-dimensional globe with the crunchy deep bottom of the sea, high mountains are low from this point of view.

It is to comfort the river with a calm hand!