The artist who transforms cotton into extraordinary works of art.
Self-taught, Simone Pheulpin has developed her own exquisite technique, a meticulous work of layering, wrapping and stretching the fabric to shape unique and extraordinary textile sculptures. Nature, with its layers of life and cracks, is an inexhaustible source of inspiration for her, which results in a creative process of meditation and precision.
You source the cotton from one of the last remaining spinning mills in the Vosges region. Have you considered using discarded cotton from other sources to contribute to the upcycling system?
“I’m originally from and still live in the Vosges. My father was an engineer and worked for these cotton mills. Cotton has always been omnipresent in my life. When I started my artistic journey, I naturally turned to cotton exclusively from Vosges spinning mills and pins made by the last French manufacturer, Bohin. My cotton is organic and, with this approach, I have a low carbon footprint. It was important for me to support and keep French savoir-faire alive”.
Nature and your background are your source of inspiration. Have you ever thought about shaping other subjects besides those derived from nature?
“Natural, organic and mineral elements have always been an endless source of inspiration. When I return to the Vosges and gaze at the mountains, it always inspires me – roots, layers, compressions and accumulations. I’m also inspired by the environment around me, both nature and urban architecture. The cracks in facades, architectural lines, a flaw on a sidewalk, and the textures of materials used all around us inspire me to create new shapes and folds”.
Your creative process involves meticulous techniques such as layering, wrapping, and stretching fabric. How do you determine which techniques or combinations of techniques to use when starting a new creation?
“When I begin a piece, I have the result I want to achieve in mind. I don’t create preparatory drawings. There are no strict rules, and the outcome has to please me. The act of folding is truly my creative process, which leans towards meditation. Crafting and executing these intricate folds brings me joy, prompting me to consistently revisit these gestures. While it may seem repetitive, each fold is actually unique and it’s the multitude of different folds that enrich my sculptures”.
How long does it take to create one of your pieces?
“The time required varies considerably depending on the complexity and scale of the piece, generally from a few weeks to a year. One of my most defining projects was ‘Décade’, presented at the Lausanne Biennale in 1987: 10 identical works that came together to form a cohesive whole. It took an entire year to complete. As I was just at the start of my career, creating the same shape 10 times was challenging. Over the years, I’ve honed my skills, which has allowed me to work more efficiently. Another extensive project was the creation of the sculpture ‘Eclosion XXL’, which took center stage at my solo exhibition ‘Un Monde de Plis’ in 2017 at the Chapelle Expiatoire in Paris. It took 9 months of work to complete”.
Do you work on multiple projects at the same time or do you focus on just one?
“I typically prefer to focus on one project at a time to develop new shapes, new folds and ensure the coherence of each of my sculptures”.
Why only monochrome sculptures?
“This monochrome aspect comes from the undyed cotton I use, which naturally has this colour, able to capture light exceptionally well and highlight my folds. Therefore, I find that my monochromatic sculptures stand on their own, and I appreciate the simplicity and purity that it brings to my work”.
How do you choose the names of your works?
“At the beginning, I named my sculptures based on my inspirations, such as “Croissances” and “Nids”. As time went on, series emerged, and I decided to name my sculptures differently using the first names of my family, friends, and loved ones, such as “Marie-Pierre – Anfractuosité series” or “Agathe – Eclipse series”. I realized they were extremely pleased with this, and I wanted to continue this tradition. I also sometimes use the name of the saint of the day”.
Have you ever thought about creating furnishing with your very special technique?
“In 2022, I participated in the first edition of the “Les Aliénés du Mobilier National” program. The Mobilier National is a French institution tasked with conserving and restoring the former royal furniture repository, while also supporting contemporary creation. The program aims to give a second life to furniture that has lost its artistic interest. For this first edition, I had the chance to work on two Thonet chairs, completely reworking them with my cotton folds”.
Through the use of x-rays, you gave new form and expression to your works, as the inner structure of your pieces is finally revealed. Where did this idea come from?
“From the creative process itself as a means to reveal the inner structure of my sculptures, intricately assembled with thousands of pins, typically concealed beneath the cotton material. The utilization of X-rays acts as a metamorphic revelation, making the metal structure, once concealed, visible to the viewer. This approach has allowed a new, ethereal dimension to my work”.
Have you taught anyone your technique, so that it is possible to continue your work?
“My creative process is a very personal endeavour. I’m self-taught, having invented my own folding technique, and I’ve always drawn inspiration from nature. This creative process makes it challenging for others to continue my work directly. Nevertheless, I do visit schools, assisting young artists in finding their own techniques and artistic language”.
Photos ©Antoine Lippens
