Soukaina Aziz El Idrissi: Cabinet Of Curiosities
Souka茂na Aziz El Idrissi studied Textile Design in London. Whishing to find an alternative to natural fibers, she searched for different materials to weave with. She focuses then on what she could easily find: waste from old projects, photographs, paper, plastic, anything which could be transformed into a weft. Through her research, she discovered that the material for which the recycling loop is not complete is plastic. She decided to concentrate on it: this material malleable and flexible to infinity. After her studies, she came back to Morocco to dedicate herself to her artistic practice. In addition to the environmental dimension that she seeks to give to her pieces, in particular by co-creating the Zero Zbel NGO, the technical characteristics, intrinsic to the material itself, allow her a permanent learning and a continual renewal.
For this exhibition, Souka茂na aims at recreating a 鈥渃abinet of curiosities鈥�: mixing forms, materials and colours, interfering with the viewer鈥檚 eye who tries to understand what is seen, making links with the development of cabinets of curiosities created during the XVI century. Considered at first as 鈥渁br茅g茅 de la nature鈥�, they included natural and artificial objects, created as collection to understand the world and nature. The crossroad between science and superstition, those cabinet of curiosities were a way to assert the intellectual and social status: learning and discovering objects, books, travel souvenirs, stranger things such as rocks, horns, and stuffed animals, creating microcosms as a r茅sum茅 of the world. These were also places where you could share ideas; especially tools to show the influence and the power of their owner thanks to exceptional and exotic objects, developing then the idea of the first collections and founding the first museums.
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Souka茂na Aziz El Idrissi studied Textile Design in London. Whishing to find an alternative to natural fibers, she searched for different materials to weave with. She focuses then on what she could easily find: waste from old projects, photographs, paper, plastic, anything which could be transformed into a weft. Through her research, she discovered that the material for which the recycling loop is not complete is plastic. She decided to concentrate on it: this material malleable and flexible to infinity. After her studies, she came back to Morocco to dedicate herself to her artistic practice. In addition to the environmental dimension that she seeks to give to her pieces, in particular by co-creating the Zero Zbel NGO, the technical characteristics, intrinsic to the material itself, allow her a permanent learning and a continual renewal.
For this exhibition, Souka茂na aims at recreating a 鈥渃abinet of curiosities鈥�: mixing forms, materials and colours, interfering with the viewer鈥檚 eye who tries to understand what is seen, making links with the development of cabinets of curiosities created during the XVI century. Considered at first as 鈥渁br茅g茅 de la nature鈥�, they included natural and artificial objects, created as collection to understand the world and nature. The crossroad between science and superstition, those cabinet of curiosities were a way to assert the intellectual and social status: learning and discovering objects, books, travel souvenirs, stranger things such as rocks, horns, and stuffed animals, creating microcosms as a r茅sum茅 of the world. These were also places where you could share ideas; especially tools to show the influence and the power of their owner thanks to exceptional and exotic objects, developing then the idea of the first collections and founding the first museums.
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