We interviewed Gerda Abramoviene in our publication “Abstracted” surrounding the concept of abstract. Visit the publication here.
Can you tell us about your initial connection to vintage textiles and how it inspired you as a textile artist?
My connection to textiles is rooted in my childhood in post-Soviet Lithuania. My great-grandparents, survivors of two world wars, were skilled crafters who embodied self-sufficiency. Their home showcased handmade doilies, and they engaged in various crafts, from basket weaving to wool processing. My mother continued this tradition, teaching me crafts like sewing on a vintage Singer machine. These experiences fostered my deep appreciation for handmade textiles and their cultural significance, laying the foundation for my current practice as a textile artist.
What first sparked your passion for sustainability? How has it evolved throughout your creative practice?
My passion for sustainability originates from my upbringing in a resource-limited environment, where I learned to repair and repurpose items out of necessity. This inclination deepened when I moved to the UK and worked in manufacturing, witnessing the environmental impact of industrial production. My university education further enhanced my understanding of the textile industry’s challenges. Today, I am driven by a desire to honour my heritage of resourcefulness while tackling contemporary issues in the textile sector.
How do you transform vintage materials into contemporary sustainable pieces? What is the process behind this?
My process of transforming vintage materials into contemporary sustainable pieces blends my traditional crafting background with formal textile design education. I carefully source reclaimed materials that resonate with me. I then apply both family-taught traditional techniques and university-learned modern methods, including:
• Repairing and reinforcing old textiles using traditional mending techniques like hand or machine sewing;
• Combining and weaving different styles and design fabrics to create new textures and patterns;
• Applying modern design principles to give traditional crafts a contemporary twist;
• Using eco-friendly treatments like natural dyeing to refresh or alter vintage textiles.
Throughout these processes, I strive to balance honouring the material’s history with creating something new and relevant.
Since sustainability is central to your work, what challenges do you face when working with upcycled materials, and how do you overcome these challenges?
Working with upcycled materials presents unique challenges that often remind me of the resourcefulness required in my childhood. These include inconsistent availability and quality of materials, the need to adapt designs based on what’s available, and preserving the integrity of delicate vintage textiles. I overcame these challenges by drawing on the problem-solving skills I learned from my family and applying the technical knowledge gained through my work experience and education. Additionally, I embrace imperfections as part of the material’s story and continuously experiment with new techniques that bridge traditional and modern methods. This approach allows me to navigate the complexities of working with upcycled materials while staying true to my sustainable and creative vision.
How do you hope that viewers will engage with or interpret your artwork?
I hope viewers will engage with my work on multiple levels. First, I want them to appreciate the craftsmanship, attention to detail, and values instilled in me by my great-grandparents. Beyond that, I hope my pieces provoke thought about our relationship with textiles – their history, production, and lifecycle. I aim to inspire a reconnection with the kind of resourcefulness and respect for materials I witnessed in my family. Ultimately, I want my work to encourage a more mindful and sustainable approach to textile consumption, bridging the gap between traditional wisdom and contemporary needs.