#Biomedical Textiles
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Biomedical Textiles Market Trends, Review, and Forecast 2024–2030
The Biomedical Textiles Market was valued at USD 18.8 billion in 2023-e and will surpass USD 52.7 billion by 2030; growing at a CAGR of 15.9% during 2024 - 2030. In the ever-evolving landscape of healthcare, the biomedical textiles market stands out as a beacon of innovation and progress. These advanced materials, designed for medical and biological applications, are revolutionizing the way we approach patient care, from wound management to implantable devices. As we delve into the intricacies of this burgeoning market, it becomes clear that biomedical textiles are not just a trend but a fundamental shift in medical technology.
Biomedical textiles are a subset of technical textiles specifically engineered for medical purposes. These textiles include fibers, yarns, fabrics, and composites that are biocompatible and designed to interact with biological systems. They are utilized in a variety of medical applications, including:
Wound Care: Dressings, bandages, and scaffolds that promote healing and reduce infection risks.
Implantable Devices: Sutures, vascular grafts, stents, and artificial organs that integrate seamlessly with the human body.
Healthcare and Hygiene Products: Hospital linens, surgical gowns, and masks that ensure a sterile environment.
Tissue Engineering: Scaffolds that support the growth and development of new tissues and organs.
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Market Dynamics
The biomedical textiles market is experiencing robust growth, driven by several key factors:
Aging Population
The global population is aging, leading to an increased demand for medical care and devices. Biomedical textiles play a crucial role in managing chronic conditions, enhancing the quality of life for elderly patients, and reducing the burden on healthcare systems.
Technological Advancements
Innovations in materials science and textile engineering are propelling the market forward. Developments in nanotechnology, smart textiles, and biocompatible materials are opening new avenues for biomedical applications, making treatments more effective and less invasive.
Rising Prevalence of Chronic Diseases
The incidence of chronic diseases such as diabetes, cardiovascular diseases, and cancer is on the rise. Biomedical textiles are essential in the management and treatment of these conditions, providing solutions that range from wound care to advanced implantable devices.
Increased Healthcare Spending
Governments and private sectors are investing heavily in healthcare infrastructure and technologies. This financial influx is boosting research and development in biomedical textiles, leading to the creation of more sophisticated and effective medical products.
Key Players and Innovations
Several companies are at the forefront of the biomedical textiles market, driving innovation and expanding their product portfolios. Notable players include Medtronic, Johnson & Johnson, B. Braun Melsungen, and Cardinal Health. These companies are investing in research and development to create cutting-edge products that address unmet medical needs.
Innovations in the field include:
Smart Textiles: Fabrics embedded with sensors and actuators that monitor vital signs and deliver therapeutic interventions.
Biodegradable Textiles: Materials that degrade naturally within the body, eliminating the need for surgical removal.
Antimicrobial Textiles: Fabrics treated with antimicrobial agents to prevent infections and promote healing.
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Challenges and Future Prospects
Despite the promising growth, the biomedical textiles market faces several challenges. Regulatory hurdles, high costs of advanced materials, and the need for extensive clinical trials can slow down the pace of innovation. Additionally, the integration of new technologies into existing healthcare systems requires significant investment and adaptation.
However, the future of biomedical textiles is bright. With continuous advancements in materials science, biotechnology, and medical engineering, the market is poised for exponential growth. Emerging trends such as personalized medicine, regenerative medicine, and minimally invasive surgeries will further drive the demand for innovative biomedical textiles.
Conclusion
The biomedical textiles market is a dynamic and rapidly evolving sector that holds immense potential for transforming healthcare. By addressing the needs of an aging population, advancing technological innovations, and providing solutions for chronic diseases, biomedical textiles are set to play a pivotal role in the future of medicine. As we look ahead, the integration of these advanced materials into mainstream healthcare promises to enhance patient outcomes, improve quality of life, and pave the way for a healthier future.
#Biomedical Textiles#Biomedical Textiles Size#Biomedical Textiles Trends#Biomedical Textiles Outlook
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https://homment.com/vbgLe8ShfhlCTvKkMfZ1
Biomedical Textiles Market Size, Analysis and Forecast 2031
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Unveiling the Opportunities in the Biomedical Textiles Market
The "Biomedical Textiles Market" is a dynamic and rapidly evolving sector, with significant advancements and growth anticipated by 2031. Comprehensive market research reveals a detailed analysis of market size, share, and trends, providing valuable insights into its expansion. This report delves into segmentation and definition, offering a clear understanding of market components and drivers. Employing SWOT and PESTEL analyses, the study evaluates the market's strengths, weaknesses, opportunities, and threats, alongside political, economic, social, technological, environmental, and legal factors. Expert opinions and recent developments highlight the geographical distribution and forecast the market's trajectory, ensuring a robust foundation for strategic planning and investment.
What is the projected market size & growth rate of the Biomedical Textiles Market?
Market Analysis and Insights
Global Biomedical Textiles Market
Data Bridge Market Research analyses that the biomedical textiles market to be grow at a CAGR of 6.25% in the forecast period of 2022-2029 and is likely to reach the USD 12.84 billion by 2029.
Fibrous textiles used in medical and biological purposes are known as biomedical textiles. The biocompatibility fabrics are used in first aid, surgeries, and to keep a clean environment. The biocompatibility of such textiles with biological tissues and fluids determines their performance. Chemical inert, sterilized, non-allergic, biocompatible, flexible, and non-toxic are all qualities that a biomedical textile must possess. Textiles like this are utilized in a variety of medical areas, including dentistry, surgery, neurology, and cardiology, among others. Surgical sutures, tissue implants, and prosthetic organs are all made with biomedical textiles.
The rise in the demand wound care products such as plaster, gauzes and orthopaedic implants will act as major driver accelerating the biomedical textiles market’s growth rate. Another significant factor resulting in the expansion of market is the upsurge in the number of geriatric population. Furthermore, surging number of surgeries and high quality of biomedical textiles are the major drivers that will enhance the growth of market. Likewise, rise in the number of chronic disorders and accidents and rapid urbanisation will show positive impact on the market’s growth rate. Growing healthcare expenditure, changing lifestyle and rise in the level of disposable incomes in developing and developed countries will influence the growth rate of biomedical textiles market.
Moreover, the rise in the development of smart biomedical textiles and advancement in medical technology will provide beneficial opportunities for the biomedical textiles market growth. Additionally, increasing demand from emerging markets and rising awareness about health and hygiene will further expand the biomedical textiles market’s growth rate in the future.
On the other hand, high R&D investment will obstruct the market growth. Also, rising pricing pressure on market players and product marketing will challenge the biomedical textiles market. However, lack of healthcare professionals and the less awareness will act as restrain and further impede the growth rate of market.
This biomedical textiles market report provides details of new recent developments, trade regulations, import export analysis, production analysis, value chain optimization, market share, impact of domestic and localised market players, analyses opportunities in terms of emerging revenue pockets, changes in market regulations, strategic market growth analysis, market size, category market growths, application niches and dominance, product approvals, product launches, geographic expansions, technological innovations in the market. To gain more info on biomedical textiles market contact Data Bridge Market Research for an Analyst Brief, our team will help you take an informed market decision to achieve market growth.
Browse Detailed TOC, Tables and Figures with Charts which is spread across 350 Pages that provides exclusive data, information, vital statistics, trends, and competitive landscape details in this niche sector.
This research report is the result of an extensive primary and secondary research effort into the Biomedical Textiles market. It provides a thorough overview of the market's current and future objectives, along with a competitive analysis of the industry, broken down by application, type and regional trends. It also provides a dashboard overview of the past and present performance of leading companies. A variety of methodologies and analyses are used in the research to ensure accurate and comprehensive information about the Biomedical Textiles Market.
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Which are the driving factors of the Biomedical Textiles market?
The driving factors of the Biomedical Textiles market include technological advancements that enhance product efficiency and user experience, increasing consumer demand driven by changing lifestyle preferences, and favorable government regulations and policies that support market growth. Additionally, rising investment in research and development and the expanding application scope of Biomedical Textiles across various industries further propel market expansion.
Biomedical Textiles Market - Competitive and Segmentation Analysis:
Global Biomedical Textiles Market, By Usage (Non-Biodegradable Fiber, Biodegradable Fiber), Fabric Type (Non-Woven Fabric, Woven Fabric, Others), Application (Non-Implantable, Surgical Sutures, Others), End Users (Hospitals, Ambulatory Centers, Clinics, Community Healthcare, Others), Country (U.S., Canada, Mexico, Germany, Italy, U.K., France, Spain, Netherland, Belgium, Switzerland, Turkey, Russia, Rest of Europe, Japan, China, India, South Korea, Australia, Singapore, Malaysia, Thailand, Indonesia, Philippines, Rest of Asia- Pacific, Brazil, Argentina, Rest of South America, South Africa, Saudi Arabia, UAE, Egypt, Israel, Rest of Middle East and Africa) Industry Trends and Forecast to 2031.
How do you determine the list of the key players included in the report?
With the aim of clearly revealing the competitive situation of the industry, we concretely analyze not only the leading enterprises that have a voice on a global scale, but also the regional small and medium-sized companies that play key roles and have plenty of potential growth.
Which are the top companies operating in the Biomedical Textiles market?
Some of the major players operating in the biomedical textiles market are ???Freudenberg SE, ATEX Technologies, Inc.,Elkem ASA, BioSpace, Ahlstrom-Munksjö, Meister & Cie AG, DSM, Medtronic, Integra LifeSciences Corporation, Bally Ribbon Mills, Confluent Medical Technologies, KCWW., Mölnlycke Health Care AB, Rochal Industries LLC, AstraZeneca, 3M, Johnson & Johnson Private Limited, Essity Aktiebolag, PAUL HARTMANN AG, B. Braun Melsungen AG, Smith+Nephew, Medline Industries, Inc., and Cardinal Health, among others.
Short Description About Biomedical Textiles Market:
The Global Biomedical Textiles market is anticipated to rise at a considerable rate during the forecast period, between 2024 and 2031. In 2023, the market is growing at a steady rate and with the rising adoption of strategies by key players, the market is expected to rise over the projected horizon.
North America, especially The United States, will still play an important role which can not be ignored. Any changes from United States might affect the development trend of Biomedical Textiles. The market in North America is expected to grow considerably during the forecast period. The high adoption of advanced technology and the presence of large players in this region are likely to create ample growth opportunities for the market.
Europe also play important roles in global market, with a magnificent growth in CAGR During the Forecast period 2024-2031.
Biomedical Textiles Market size is projected to reach Multimillion USD by 2031, In comparison to 2024, at unexpected CAGR during 2024-2031.
Despite the presence of intense competition, due to the global recovery trend is clear, investors are still optimistic about this area, and it will still be more new investments entering the field in the future.
This report focuses on the Biomedical Textiles in global market, especially in North America, Europe and Asia-Pacific, South America, Middle East and Africa. This report categorizes the market based on manufacturers, regions, type and application.
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What are your main data sources?
Both Primary and Secondary data sources are being used while compiling the report. Primary sources include extensive interviews of key opinion leaders and industry experts (such as experienced front-line staff, directors, CEOs, and marketing executives), downstream distributors, as well as end-users. Secondary sources include the research of the annual and financial reports of the top companies, public files, new journals, etc. We also cooperate with some third-party databases.
Geographically, the detailed analysis of consumption, revenue, market share and growth rate, historical data and forecast (2024-2031) of the following regions are covered in Chapters
What are the key regions in the global Biomedical Textiles market?
North America (United States, Canada and Mexico)
Europe (Germany, UK, France, Italy, Russia and Turkey etc.)
Asia-Pacific (China, Japan, Korea, India, Australia, Indonesia, Thailand, Philippines, Malaysia and Vietnam)
South America (Brazil, Argentina, Columbia etc.)
Middle East and Africa (Saudi Arabia, UAE, Egypt, Nigeria and South Africa)
This Biomedical Textiles Market Research/Analysis Report Contains Answers to your following Questions
What are the global trends in the Biomedical Textiles market?
Would the market witness an increase or decline in the demand in the coming years?
What is the estimated demand for different types of products in Biomedical Textiles?
What are the upcoming industry applications and trends for Biomedical Textiles market?
What Are Projections of Global Biomedical Textiles Industry Considering Capacity, Production and Production Value? What Will Be the Estimation of Cost and Profit? What Will Be Market Share, Supply and Consumption? What about Import and Export?
Where will the strategic developments take the industry in the mid to long-term?
What are the factors contributing to the final price of Biomedical Textiles?
What are the raw materials used for Biomedical Textiles manufacturing?
How big is the opportunity for the Biomedical Textiles market?
How will the increasing adoption of Biomedical Textiles for mining impact the growth rate of the overall market?
How much is the global Biomedical Textiles market worth? What was the value of the market In 2020?
Who are the major players operating in the Biomedical Textiles market? Which companies are the front runners?
Which are the recent industry trends that can be implemented to generate additional revenue streams?
What Should Be Entry Strategies, Countermeasures to Economic Impact, and Marketing Channels for Biomedical Textiles Industry?
Customization of the Report
Can I modify the scope of the report and customize it to suit my requirements? Yes. Customized requirements of multi-dimensional, deep-level and high-quality can help our customers precisely grasp market opportunities, effortlessly confront market challenges, properly formulate market strategies and act promptly, thus to win them sufficient time and space for market competition.
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Detailed TOC of Global Biomedical Textiles Market Insights and Forecast to 2031
Introduction
Market Segmentation
Executive Summary
Premium Insights
Market Overview
Biomedical Textiles Market By Type
Biomedical Textiles Market By Function
Biomedical Textiles Market By Material
Biomedical Textiles Market By End User
Biomedical Textiles Market By Region
Biomedical Textiles Market: Company Landscape
SWOT Analysis
Company Profiles
Continued...
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#Biomedical Textiles Market#Biomedical Textiles Market Size#Biomedical Textiles Market Share#Biomedical Textiles Market Trends
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Eco-friendly nanofibrous cellulose matrix has diverse applications ranging from textiles to medical devices
The efficient use of cellulose—the primary plant scaffold and a major natural building block—could address many issues associated with petroleum-based polymers across various industries. In the search for more sustainable uses of cellulose, Lithuanian scientists have developed a production method for a nanofibrous cellulose matrix, which has the potential to replace non-renewable industrial even in biomedical applications. Textile, clothing, toys, and sports equipment made from synthetic petroleum-based materials have a significant negative impact on the environment through their entire life cycle, from production to waste management. Scientists argue that it is necessary to replace petroleum-based materials with environmentally friendly materials and to demonstrate to consumers that products that have been in use for many years can be replaced while retaining their effectiveness. According to Ingrida Pauliukaitytė, a Ph.D. student at Kaunas University of Technology (KTU) and one of the creators of the new environmentally friendly cellulose nanofiber, the invention is a step towards a more sustainable industry.
Read more.
#Materials Science#Science#Fibers#Cellulose#Nanotechnology#Biomaterials#Materials processing#Kaunas University of Technology
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WHAT MYSTREET CHARACTERS WENT TO COLLEGE/TRADE SCHOOL/ETC FOR VS WHAT THEY WORK AS
Aphmau - Childhood Development degree -> Child Welfare Social Worker / Part time Daycare worker
Aaron - Architecture degree -> Construction Manager
Garroth - Entrepreneurship degree-> Sales Manager (at his father’s company)
Zane - Psychology degree-> Human Resources worker (at his father’s company)
Laurance - Engineering -> Mechanical Engineer for cars
Katelyn - Army -> Exercise Science degree -> Personal Trainer
KC - Manages her own restaurant
Lucinda - Witchcraft degree (yes I made that up) -> Potion Mixer
Dante - Computer Science -> Software Developer
Travis - Economics degree -> Bartender
Cadenza - Textiles degree -> Dress Designer
Gene - Engineering degree (he dropped out) -> Waiter, Retail Worker, Garbage Man, EMT
Nicole - Nursing degree (switched majors -> Biomedical Engineering degree -> Medical Technologist
Ivy - Nursing degree -> Nurse
Teony - Pyschology -> Children’s Therapist
Kim - Library Science -> Librarian
Ok that’s all I’m gonna do thanks for reading :)
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Hi.
I'm a nonbinary person in my 30s (they/them pronouns), and for Reasons I never finished my university degree. Now I wanted to go back to uni and get a degree, for real this time.
This is a journal to document that experience (my main is Elsewhere and less connected to my RL). I'm studying biological and biomedical sciences in Ireland and I'm in my first year! Currently I'm thinking of specialising in an ecology-ish direction but I don't want to lock myself in too early.
Outside of uni I have like 15 hobbies, some of which are assorted textile crafts, drawing (badly), historical recreation, playing the guitar (very poorly) and tabletop RPGs. I've also joined the drama society to try something new, it seemed fun so we'll see where that goes!
I aim to make my notes legible and functional, but not overly aesthetic unless I randomly decide to write revision notes in calligraphy because I can. So... if you're looking for pretty study notes or fancy bullet journal spreads, or even above-average handwriting, look elsewhere, mine is fairly minimalistic with occasional stickers.
I'm not sure what exactly I'll write here yet, probably a mix of journaling, infodumps about cool things I'm learning, study advice, pretty campus pictures, stuff I'm reading/doing outside of uni, and whatever else appeals.
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Photo: Rosemary Warren We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection. Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online. Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence? Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years. Can you share a little bit about your background as an artist. I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible. Untitled, Dyed wool & thread, 16.5 x 31.1 x 1 We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas? It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality. The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would. Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression? I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet. Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again. To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me. The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up. This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again. Photo: Sarra Fleur Abou-El-Haj What prompted you to start designing towels? A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel. I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available. Where are your towels are made, and can you share a little about the production process? The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US. Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe. Where there challenges when transferring your artistic vision onto a functional object? Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult. The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon. Who or what has had the biggest influence on you creatively? Music, queer/feminist literature and theory, quilts, and my sensory life in nature. One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12. Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard. What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine. Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion. Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out. Dreaming? The wherewithal to make myself jeans Giving? I give my friends clothes I've made and novels after I finish them Thank you, Wilder! Follow Wilder @wilderalison Shop the towels. Source link
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Photo: Rosemary Warren We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection. Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online. Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence? Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years. Can you share a little bit about your background as an artist. I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible. Untitled, Dyed wool & thread, 16.5 x 31.1 x 1 We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas? It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality. The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would. Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression? I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet. Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again. To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me. The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up. This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again. Photo: Sarra Fleur Abou-El-Haj What prompted you to start designing towels? A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel. I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available. Where are your towels are made, and can you share a little about the production process? The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US. Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe. Where there challenges when transferring your artistic vision onto a functional object? Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult. The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon. Who or what has had the biggest influence on you creatively? Music, queer/feminist literature and theory, quilts, and my sensory life in nature. One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12. Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard. What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine. Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion. Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out. Dreaming? The wherewithal to make myself jeans Giving? I give my friends clothes I've made and novels after I finish them Thank you, Wilder! Follow Wilder @wilderalison Shop the towels. Source link
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Photo: Rosemary Warren We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection. Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online. Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence? Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years. Can you share a little bit about your background as an artist. I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible. Untitled, Dyed wool & thread, 16.5 x 31.1 x 1 We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas? It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality. The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would. Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression? I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet. Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again. To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me. The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up. This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again. Photo: Sarra Fleur Abou-El-Haj What prompted you to start designing towels? A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel. I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available. Where are your towels are made, and can you share a little about the production process? The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US. Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe. Where there challenges when transferring your artistic vision onto a functional object? Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult. The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon. Who or what has had the biggest influence on you creatively? Music, queer/feminist literature and theory, quilts, and my sensory life in nature. One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12. Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard. What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine. Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion. Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out. Dreaming? The wherewithal to make myself jeans Giving? I give my friends clothes I've made and novels after I finish them Thank you, Wilder! Follow Wilder @wilderalison Shop the towels. Source link
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Photo
Photo: Rosemary Warren We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection. Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online. Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence? Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years. Can you share a little bit about your background as an artist. I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible. Untitled, Dyed wool & thread, 16.5 x 31.1 x 1 We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas? It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality. The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would. Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression? I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet. Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again. To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me. The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up. This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again. Photo: Sarra Fleur Abou-El-Haj What prompted you to start designing towels? A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel. I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available. Where are your towels are made, and can you share a little about the production process? The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US. Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe. Where there challenges when transferring your artistic vision onto a functional object? Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult. The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon. Who or what has had the biggest influence on you creatively? Music, queer/feminist literature and theory, quilts, and my sensory life in nature. One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12. Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard. What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine. Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion. Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out. Dreaming? The wherewithal to make myself jeans Giving? I give my friends clothes I've made and novels after I finish them Thank you, Wilder! Follow Wilder @wilderalison Shop the towels. Source link
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https://zekond.com/read-blog/62142_biomedical-textiles-market-size-analysis-and-forecast-2031.html
Biomedical Textiles Market Size, Analysis and Forecast 2031
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Photo: Rosemary Warren We’re always searching for bits and pieces of magic to complement our collection–pieces that reflect our love for artful design, craftsmanship, and color. When Araks discovered the world of interdisciplinary artist Wilder Alison, she instantly fell in love. It was a serendipitous moment to find that Alison creates beach towels, aligning beautifully with our vision, and complementing our swimwear collection. Created from 100% jacquard-woven cotton and produced at one of the last remaining terrycloth manufacturers in the USA, Alison’s towels are a work of art in themselves. Two limited edition towels are now available at our Soho store and online. Can you tell us about your upbringing? What was your childhood like, and how was creativity and self-expression cultivated in your adolescence? Although I am the only artist in my family, I grew up with a strong culture of making - my parents were very accommodating of my creative drives. My dad is a biomedical engineer, mad-scientist type, and it seems he has imparted to me a sort of "scientific method" that we each apply to our rather singular passions. My mom grew up in a Finnish community in rural Vermont and she and my grandmother passed down quilting and knitting traditions to me - these practices were strongly affiliated with values of thrift and reuse, and when I was a kid we spent a lot of time going to yard sales, where we would find craft supplies and materials, and sometimes old quilts. I also grew up close to the Shelburne Museum, a colonial living history museum in Vermont with a well-known quilt collection. We moved to the midwest when I was young, and it was very difficult for me to leave the mountains of the northeast. I somewhat attribute my artistic dedication in my childhood to having been confronted by what I felt was an absence of nature in my new environs. My making was self-directed and constructive, and I explored a wide range of materials as a teenager - making clothes, mosaic, stained glass, screen printing, dyeing, video, photography. I also sang for many years. Can you share a little bit about your background as an artist. I have worked with textiles since I was small, but my art education revolved more around sculpture, installation, printmaking, music/performance, and eventually painting in graduate school. Most of my creative pursuits took place outside of school until college. I went to Bard, which is not officially an art school, but being there gave me the freedom to pursue making what I wanted to make - and I generally had to figure out the technical aspects of that on my own. I moved to Brooklyn after school and spent several years there finding my community and refining my practice while also leaving town to do artist residencies whenever possible. Untitled, Dyed wool & thread, 16.5 x 31.1 x 1 We love that some of your work involves wool blankets, dyed in a palette of four to six colors and then cut and sewn into a final composition. What attracted you to the mediums of fabric and dye rather than paint and canvas? It was fabric and dye that led me to making works stretched on canvas. I have been working with wool since my childhood, and I began making the paintings I now refer to as “slit subjects” out of wool starting in 2014. I found some army blankets at an antique store and I was working with food dyes. At the same time I had discovered a text by Monique Wittig called The Lesbian Body, in which the “I” - the “je” - in the original French version is cut by a slash. And in the English version the translator made the decision to italicize the “I” - such that the I itself functions as a slash cutting the text. Motivated by this intervention in Wittig’s “I,” I created a cutting structure that would allow me to make a wide range of compositions out of simple dye patterns I created on these blankets. This process has evolved and I am now making more elaborate compositions using this framework. I think of the textual origin of the work as part of its materiality. The way that I process and stretch the wool means that in the final forms of my paintings, the material resembles raw canvas from a distance, but there is a compelling dissonance in the texture of the dye patterns that leads you to understand that the material is not canvas - it is not really a painting at all. I have always been drawn to the way wool brilliantly absorbs dyes, and I find that my paintings have an almost backlit, screen-like quality because of this intense level of color saturation. Unlike paint, which is comprised of pigment - a particle - dye changes the chemical structure of the fabric: the color in my paintings goes all the way through the material rather than resting on the surface like paint and pigment would. Left: sl/pped—green—f/st \formaya\ dr/psdry, Dyed wool & thread, 55.1 x 59.1 x 1 in, 2023, Photo on White Wall Studio Right: Ferns toss&/nvolute, warn the gr/d to cold root, Dyed wool & thread, 24.8 x 27.6 x 1 in, 2023, Photo on White Wall Studio How do you approach the use of color in your paintings, and what role does it play in the overall impact of your artistic expression? I don’t have a straightforward explanation for this because I take an intuitive, poetic approach to my color choices. I use color associatively, in pursuit of a range of moods and syntaxes in the combinations of colors I use. So you could think of each distinct palette within a painting as a kind of “spelling” of a word I am inventing on the spot, although of course there are many more possible colors at my disposal than letters in the alphabet. Perhaps the interesting parts of this process come about relationally: I am interested in the impossibility of reproducing these works, either within a diptych that has two panels of the same dye schema, or between two or more separate works. So I will sometimes try to reproduce a color palette from an earlier painting in order to make it again. To re-make these compositions is like handwriting insofar as there are contingencies to how my body moves and how the dye behaves, and so each resulting “character,” if you will, always comes out slightly differently. Because I am working loosely with the powdered dyes, trying to match a previous color based on a painting or a drawing, often working under different lighting conditions than the previous version, these reproduction attempts yield palettes that are related but dissonant. I do not consider this shift to be an error, but as something more like a refresh - it is a desirable result for me. The color aspect is also relational in that I dye the wool for many paintings at once - working according to schematics, for example, I will dye a sequence of several blues for several different works, adjusting the color in the pot as needed by adding more dye. This helps me save both water and time, as the dye pots take a while to heat up. This process means that a group of paintings share in the same “genetic material” of the contents of the dye pots. Each act of dipping the wool into the dye pot also inflects the next dip, because each dip effectively removes some of the dye from the dye pot and therefore changes the color that remains in the pot. This means there is a kind of collectivity to how I compose the color of the dye in the pot - though because I can’t see the true color by looking at the dye bath, the color is only revealed by putting the wool into the dye and removing it again. Photo: Sarra Fleur Abou-El-Haj What prompted you to start designing towels? A while back I found out about Plunge, a company that facilitates the production of towels designed by artists, through the work of Lukaza Branfman-Verissimo. When Kate Levant at KAJE asked me if I wanted to make an edition before my show there last fall, I immediately knew I wanted to create a towel. I have spent significant periods of developing my wool painting project while living by - and responding to the cycles of - the sea, particularly in Provincetown and Marseille, where I am now. While I'm dyeing fabric for my paintings, the wool is often soaking wet and dripping, and there is water everywhere in the studio. Furthermore, the original inspiration for these paintings was a text by Monique Wittig called The Lesbian Body, which is quite corporeal and visceral. For all of these reasons, it made sense to me to make an object that is meant to cycle between wetness and dryness in relation to the body. I also simply wanted to make a more accessible version of my paintings available. Where are your towels are made, and can you share a little about the production process? The towels are woven in the US on jacquard looms, and apparently three colors is the capacity for this type of terrycloth weaving currently possible in the US. Next month, I am releasing a new towel at Das Minsk Kunsthaus in Potsdam, Germany in conjunction with a textile group show SOFT POWER that I am part of. These towels will be made by Towel Studio in Berlin with a knitting process, which has presented a different kind of flexibility with respect to my compositional and color choices. This project came about directly in response to the KAJE production, and I'm so glad that I will soon have towels available in Europe. Where there challenges when transferring your artistic vision onto a functional object? Yes, although I have a background in craft and I have made clothing for many years, so it isn’t so much the functionality aspect that made the translation difficult. The challenge was to translate the color range and textures of my paintings into a more graphic image in 2-3 colors. But this process is expansive because it presents possibilities that I don’t have in my painting process, so it helps me see the paintings in new ways. For my upcoming Das Minsk towel, the composition has four quadrants that will be knitted in different configurations for different colorways, so the towels will begin to demonstrate how my painting compositions work as reconfigurable characters in a lexicon. Who or what has had the biggest influence on you creatively? Music, queer/feminist literature and theory, quilts, and my sensory life in nature. One of my earliest influences that motivated me to pursue art when I was young was Niki de Saint Phalle, whose giant mosaic animal sculptures I first encountered in San Diego around age 12. Looking forward, are there any other products or mediums you are excited to explore in your art? I worked with glass as a teenager and I have a long range vision of creating stained glass versions of my paintings, and somewhere for these windows to live. Something between Agnes Martin's chapel and de Saint Phalle's Tarot Garden. A few years ago I began a project translating my paintings into polished porcelain tiles/tablets, and I would like to continue that at some point - but it is very hard. What are you currently… Coveting? I'm waiting for Hirbawi kufiyas to be available again. The jewelry of Jacob, a French designer I discovered recently. A knitting machine. Watching? I’m planning to embark on a deep Miyazaki dive since I have somehow neglected his oeuvre thus far Listening? I'm doing the cover for an upcoming album by my friend Judith Hamann, so - that. Also, the only podcast I consistently follow is Wardrobe Crisis, which is about sustainability in fashion. Reading? I've been reading both of Qiu Miaojin's books. I'm looking forward to cracking the collections of essays by Nick Mauss and Estelle Hoy that After8 in Paris just put out. Dreaming? The wherewithal to make myself jeans Giving? I give my friends clothes I've made and novels after I finish them Thank you, Wilder! Follow Wilder @wilderalison Shop the towels. Source link
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Light-emitting textiles for diverse flexible and wearable displays
Textile research has highlighted the advances in electroluminescent threads as suitable biomaterials for driving growth in the wearable electronics market. While the direct embroidery of textiles with custom designs and patterns can offer substantial benefits, machine embroidery can challenge the integrity of these threads. In a new report of applied science and engineering published in Science Advances, Seungse Cho and a team of scientists in biomedical engineering and medicine in the U.S., present embroiderable, multicolor, electroluminescent threads in blue, green, and yellow, that show compatibility with standard embroidery methods. The researchers used the threads to stitch decorative designs onto a variety of consumer fabrics, without compromising their wearability or light-emitting capacity. The scientists illuminated specific messages or designs on the consumer products for the purpose of developing emergency alerts on helmet liners and as physical hazard signs.
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Polyhydroxyalkanoates Market Outlook, Competitive Strategies And Forecast
The global polyhydroxyalkanoates market size was estimated at USD 650.66 million in 2023 and is projected to grow at a CAGR of 9.35% from 2024 to 2030. Rising non-biodegradable plastic pollution globally is increasing the threat of various ill effects caused by this pollution leading to a surge in the demand for sustainable actions to effectively manage plastic pollution driving the demand for polyhydroxyalkanoates (PHA).
The market is experiencing growing interest due to the global shift toward sustainability and eco-friendly alternatives. With increasing regulations on single-use plastics and heightened consumer awareness about environmental pollution, industries are exploring biodegradable solutions like PHAs. As a result, there has been a noticeable increase in R&D investment, particularly in improving the production efficiency and cost-effectiveness of PHA materials. The integration of PHAs in sectors such as packaging, agriculture, and biomedical applications is becoming more widespread, reflecting the market’s adaptation to the growing demand for green alternatives.
Gather more insights about the market drivers, restrains and growth of the Polyhydroxyalkanoates Market
Key Polyhydroxyalkanoates Company Insights
The market is highly competitive, with several key players dominating the landscape. Major companies include Danimer Scientific, TianAn Biologic Materials Co., Ltd., Kaneka Corporation, P&G Chemicals, Tepha, Inc., Newlight Technologies LLC, Bio-on S.p.A., Yield10 Bioscience, Inc., PHB Industrial S.A, and TianAn Biologic Materials Co., Ltd. The market is characterized by a competitive landscape with several key players driving innovation and market growth. Major companies in this sector are investing heavily in research and development to enhance the performance, cost-effectiveness, and sustainability of their products.
Recent Developments
• In February 2024, Bluepha, a producer of PHA based in China, announced a partnership with Helian Polymers, a Dutch company specializing in biobased and biodegradable materials. This collaboration aims to develop a new PHA-based building block that can serve as a drop-in replacement for traditional petrochemical plastics across various applications
• In September 2023, Lummus Technology and RWDC Industries announced a new agreement aimed at increasing the production and global availability of PHA, to meet the rising demand from different industries
• In May 2023, Trinseo and RWDC Industries announced a partnership aimed at developing sustainable packaging solutions using PHA dispersion technology. This collaboration focuses on creating water-based barrier coatings for paper and board packaging that are recyclable, compostable, and biodegradable, addressing the growing demand for eco-friendly alternatives to non-recyclable materials like polyethylene laminates
Global Polyhydroxyalkanoates Market Report Segmentation
This report forecasts revenue growth at global, regional, and country levels and provides an analysis of the latest industry trends in each of the sub-segments from 2018 to 2030. For this study, Grand View Research has segmented the global polyhydroxyalkanoates market report based on type, end-use, and region:
Type Outlook (Revenue, USD Million, Volume, Kilotons, 2018 - 2030)
• Short Chain Length
• Medium Chain Length
• Long Chain Length
End-use Outlook (Revenue, USD Million, Volume, Kilotons, 2018 - 2030)
• Packaging
• Agriculture
• Textiles
• Consumer Goods
• Others
Regional Outlook (Revenue, USD Million, Volume, Kilotons, 2018 - 2030)
• North America
o U.S.
o Canada
o Mexico
• Europe
o UK
o Germany
o France
o Italy
o Spain
• Asia Pacific
o China
o India
o Japan
o South Korea
o Thailand
• Central & South America
o Brazil
o Argentina
• Middle East & Africa
o South Africa
o Saudi Arabia
o UAE
Order a free sample PDF of the Polyhydroxyalkanoates Market Intelligence Study, published by Grand View Research.
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