Celebrating the visual languages of PEOPLE, COMMUNITY, CULTURE, and ENVIRONMENT through the global practice of resist-dye traditions and innovations, keeping in mind authenticity, reciprocity, and networking.
Ciao!! My name is Eva-Maria Spampinato. I am long overdue to introduce myself to you all. Over two years ago, I joined the World Shibori Network (WSN) and the affiliate event organizing branch Slow Fiber Studios (SFS) as a project coordinator. My position has evolved as Yoshiko Wada’s research assistant for ongoing projects, including my new role moderating the online series Conversations with Cloth and writing social media blogs for WSN and Surface Design Association.
Coming to work with Yoshiko Wada, is a new challenge I am embarking on, given my background is different. Meaning, my passion nor expertise relies on textiles or fiber arts. Rather, my craft is fine arts of paintings, drawings & art technology, called artechne. I am an early career design historian and artist, with training in fine arts and art restoration. In 2018, I graduated from the V&A Museum/ Royal College of Art’s History of Design postgrad program. I conducted artechne research on pigments and remaking cobalt glass from an 18th-century artisan recipe book from the National Art Library private book collection. After graduating, I was on a mission to bridge the interconnectedness between the color transmissions within natural dyes.
My ambition to seek out natural dyes stems from the desire to integrate my material knowledge of three colorants: pigments, glass, and now dyes within the historical narrative and its contribution to the history of art, alchemy & chemistry. Throughout the 18th century, much like glass, natural dyes played a significant role in the development of synthetic colors, both in pigments and dyes. In my studies, exploring the 18th-century Experimenting Culture, chymical and glass innovation are directly linked to innovating synthetic pigments for manufacturing. Now it was time to learn how dyes partook in this narrative as well. Therefore, my ongoing questions working with Yoshiko are: What is/are the common denomination(s) between colorants? How can I link this source of knowledge together with pigments and glass? Learning how-to make natural dyes is the critical component to experiencing this.