Claudy Jongstra: Sustainable, Handmade Textiles


Claudy Jongstra: Sustainable, Handmade Textiles

Craftsman Claudy Jongstra is focused on making workmanship utilizing practical strategies. A promoter for using nearby assets and conventional abilities, she makes her amazing establishments out of top notch fleece from her own group of Drenthe Heath Sheep. The Dutch craftsman utilizes the excellence of such a characteristic material to make a gentler, more human climate in broad daylight spaces.

Jongstra concentrated on design in Utrecht, Netherlands prior to becoming entranced by a Mongolian yurt in plain view in Nederlands Textielmuseum. She found the varieties and surfaces of the felt intriguing, and began to make textures consolidating fleece and silk. From that point forward, she has ceaselessly explored WOVEN OR NONWOVEN GEOTEXTILE   avenues regarding different felting procedures, happy with the result of her textures and the manageable way where she makes them. In 2009, Jongstra began developing her own color plants to variety her materials. Numerous outstanding style planners, like John Galliano, Christian Lacroix, and Donna Karan, have involved her textures in their assortments.

While style planners have utilized Jongstra’s materials, her specialty establishments truly charm me. The vast majority of Jongstra’s pieces show a profound association with the Earth, and prompt the watcher to see regular excellence where they might not have previously. Encircled by plain white walls, the dazzling blues and whites from one of her contemporary workmanship pieces (for which she won best ‘Studio Craftsman Configuration’ Floor covering Configuration Grant in 2014) gives off an impression of being a portrayal of the sea. Albeit the piece looks rough into close, the all encompassing nature of the carpet makes a refined vibe and adds to a quiet climate. Her different pieces have been shown in various spots from a funeral home to the Exhibition hall of Current Workmanship in New York.

The piece Jongstra made for the morgue close to a Church of the Sisters of Dominicans in Nijmegen, The Netherlands, is pretty much as peaceful as the sea like piece she made for the confidential home. As per Jongstra, “[The craftsmanship piece in the mortuary] adds magnificence and reassurance to [the] exceptionally unique room and offers a mending force for the despondency of the grievers.” The delicate variety range of cream, mauve, and gold add to the general impact of the room. The task covers a whole wall, and from a good ways, has all the earmarks of being a painting. The inconspicuous surface is just obvious very close, and the delicate material blended in with the delicate tones makes a tranquil environment that goes with a large portion of Jongstra’s naturalistic pieces.

I appreciate Jongstra’s devotion to make feasible workmanship. Her profound association with nature has prompted astonishing establishments and has propelled me and different architects all over the planet.


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