About

Bio

Nourished by an eclectic academic background, Viviane Sagnier was ultimately drawn to textile art by her need for touch: thread, wool, fibre.
She rapidly became fascinated by the notion of contact, and in her work seeks to create an interaction between textile and viewer through a desire to touch, to feel.

“There is more than one way to tell stories.
For Viviane Sagnier, a young woman with a keen interest in literature, the desire to travel the road not taken leads her to weave stories of sophisticated simplicity.
At once Scheherazade and Penelope, she imprints her emotions by embroidering poetic stories in white across sculpted woollen landscapes, and concocting cleverly coloured potions. She uses every moment to enchant the material.
Do not be mistaken, the journey may seem gentle and simple for her chosen viewers, but it is strewn with pitfalls and struggles. Only the tenacity of she who leads the way with her passion as a guide, exploring her textile landscapes with skill and determination, yields it all, to our great pleasure!”

E. A. Bridier

A need to share the love of beautiful materials through her work, to dive into an achromic universe, full of nuances and poetry.
Her work is based on natural materials, simple to the touch and rich in life.

Exhibitions

  • Matière(s) à voyager (Mediums of Travel)/group exhibition / From 18 to 22 November 2020/ Salon l'Aiguille en Fête exhibition space (Paris, France)
  • É.E.S/group exhibition/From 15 January to 8 March 2020/La Commanderie des Templiers, (Elancourt, Yvelines, France)/Commissioned by Erhia Association
  • Émotions Électives (Elective Emotions)/solo exhibition/From February 18 to 23, 2020/Galerie Art Rencontre (Eaubonne, Val d’Oise, France)
  • Miniartextil/group exhibition/Fall 2019 (Como, Italy)

Education

  • 2018/Diplôme des Métiers d'Art Textiles in Embroidery | La Source/Nogent sur Marne, France | High Honours (mention excellent)
  • 2016/Bachelor of Art History in Decorative Arts | Université Blaise Pascal/Clermont-Ferrand, France
  • 2014/Classe Préparatoire aux Grandes Écoles littéraire in Classics | Lycée Chateaubriand/Rennes, France

Statement

Between concept and craft, a desire to create a world.

An achromic universe, where the absence of colours make way for nuance: white, ivory, faint beige… A tactile world where the hand touches and the mind wanders. 
A space, free of social constraints, leaving time for the rediscovery of our inner humanity.
I give time to the material, open a dialogue with it,
creating harmony between texture and touch.
I am guided by the thousand possibilities offered by the life flowing freely through my medium.
My work questions our relationship to alterity: the other, the unknown, the different. 
Observe the emotions that burst forth, unfold, take up space.
Submit to the lull of that which is born in the depths of intimacy.
Enter a world that is at once palpable and invisible.
In the space that emerges between themselves and the work, viewers have the opportunity to take an active role in their relationship to the other: person, space, time, universe.
A tactile and emotional experience between the fibres and the inner self.

To abandon the external for a time. To dive into sensation, nuance, surprise. To allow the work to expose intimacy.

My choice to use natural, environmentally friendly fibres is a manifesto for a more just world where there is room for poetry and freedom. Freedom to plumb the depths of a material, to delve into the essence of an intimate relationship between artist, work and viewer.

/ 2020

Process

Materials

The materials used in the studio are, as far as possible, either natural, environmentally- and animal-friendly, or reused.

The wool used for felting is MULESING FREE*, and colours are OEKO-TEX STANDARD 100 certified (sourced from DHG).

The silk threads are made in France by a Living Heritage Company, Au Vers à Soie.

The mohair yarns are sourced from Ferme Mazurka Lana, a French farm located in Burgundy, respectful of its animals.

The angora yarns are produced in France at Angora de France, a farm respectful of its animals, where moulting is induced using depilatory fodder (Lagodendron), making fibres easy to harvest and respecting of animal welfare.

* Mulesing is the surgical removal of part of the perineal skin. This practice, common in Australia is used to reduce the incidence of myiasis in merino sheep; however, it is extremely painful.

© Loine Desenclos

Felt

The difficult craft of felting allows, by the power of hot water, soap and friction, for the creation of woollen surfaces.
This process generates a material far from baize or industrial felt, a collection of wool fibres.
Wool felt is an incredible source of inspiration. The field of possibilities opens up with the amalgam of fibres, enabling the creation of surfaces and volumes, using a wide variety of materials.
“By laying out, moistening and soaping carded wool, the felter teases the wool fibres into locking together in order to create felt, a non-woven textile. This process yields a solid, dense or light material that can be shaped into flat or three-dimensional forms.”
Felting was added to the official list of Arts and Crafts in France by the decree of 24 December 2015, published in the Journal Officiel of 31 January 2016.

Embroidery

Embroidery, an age-old technically demanding craft, a tradition both abundant and diverse.

Above of all, embroidery requires patience: stitch by stitch, a pattern, a statement, a path is drawn on the fabric. 
It also means working to renew this acquired craft, digesting gestures in order to appropriate them, to make them live in the present time.