I have always loved fabrics and threads since I was a child, admiring my grandmother’s white embroidery. I discovered bojagi (also known as “pojagi”) a little over 10 years ago through a book written in Korean. At that time, I was teaching patchwork and working with a group of artists (painters, sculptors, watercolourists and stylists). We met every month to work on different themes. … One day, transparency entered the picture! I decided to delve into it alone and I succeeded with great pleasure. That was the beginning of a long story … exhibitions, workshops, and wonderful encounters.
My first challenge: Remaining true to myself
I never wanted to simply copy the Korean bojagi I discovered in the magnificent museums of Seoul (it is a wonderful traditional art whose cradle is there). I aim to be a bridge, a sort of ambassador, and to make bojagi known beyond Korea as much as possible. For me, the essential thing is to stay within the tradition of the technique, and the sew- ing stitches used, while bringing it to life with my European sensitivity. I believe this is why Korean artists accepted me, and why Chunghie Lee, who is like a mentor to me, invited me to exhibit my works at various Korean bojagi forums (in 2014, 2016 and 2023, plus a 2018 solo exhibition in Seoul) and to an artist residency in Jinju, a city of silk, under the auspices of UNESCO. This recognition is a great source of pride for me and motivates me to continue as long as I can.
My inspirations
I find a large part of my inspiration in the Art Deco period, with its clean lines. Bauhaus artists also inspire me a lot. I adore the work of painters and designers like Sonia Delaunay, Mondrian, Josef and Anni Albers, Kandinsky, Miro, Malevich. The French painter Soulages is also one of my favourites and a great source of inspiration.
I recently created several black-and-white pieces for an exhibition in Japan. I love this elegant contrast and the balance between the two colours. I am also greatly inspired by architecture. The works of Tadao Ando and Auguste Perret still interest me a lot. I always look around me: curious, open to surprises and sometimes inspired by a simple detail. During my travels, or visits to exhibitions, I search for that inspiration that will suddenly sweep me away. I struggle with imposed subjects or themes, but I love challenges.
My creations
Generally, I only make small sketches for my projects. Almost everything is in my head, my mind. I can almost see my completed bojagi just by closing my eyes; and until the work matches that image, I continue to work on it. Sometimes, only one or two details are missing. I cannot really explain why I always work like this, but I can understand that some artists need a sketchbook. However, I take photos during the progress of the work. It is a precious help to know if I am heading in the right direction or not!
As I mentioned earlier, I love challenges and especially challenges to create different styles of bojagi. It is always a great pleasure to experiment and create works with curves, circles … all while seeking new experiences.
My passion
Transparency is one of my passions. I love mixing different fabrics, thicker or finer. You see; you don’t see. I love watching my bojagi come to life during the day with the sun, and less sun. It’s as if the fabric is alive and playing with light and shadows. It’s always fascinating. Sometimes the fabrics are full of light, as if saturated, without relief, and you have to wait until the end of the day for the seams and design to become stronger. It is always a great emotion to discover — or rediscover — my work during these suspended moments.
When I exhibit my works, I like to fold them and play with the design. Always different. I love seeing the bojagi gently swaying in the air, and my pleasure is to organize a sort of labyrinth: Visitors enter my universe, feel peace and tranquility away from real life.
That was my main goal when I wrote my book in 2016. I wanted to share my passion with as many people as possible, to introduce them to the technique but also to the beauty of this art. A Korean art dating back to the 14th century under the Joseon Dynasty, the word bojagi comes from a Chinese ideogram meaning “cloth for wrapping things.” There were bojagi for all uses, for all ranks of society — from the emperor to the common people.
My work
I live in the centre of Paris, a city always in motion. I work in my studio at home, and I like to work by hand. I feel like I’m meditating, escaping from the world. I listen to music of all kinds — classical, rock, meditative. I don’t like working with a sewing machine. For me, it’s like a job that keeps me from feeling as free.
When I create, I need to feel far from everyday life. I like feeling the fabric under my fingers; I like feeling the thread breathe, up and down between the organdy or silk, finding its place. Exactly like me breathing, calmly. Starting or preparing a new work is always very exciting. I take the time to choose the colours, fabrics, threads. This is also part of the pleasure of creation.
Process
When I began making bojagi, I encountered the issue of where to find fabrics! I didn’t have access to silk, ramie or hemp made in Korea.
I decided to work with fabrics that I could find in France: organdy, silk organza, linen, batiste. When necessary, I dyed my fabrics, starched them, and gave a light style to my work. I have a European sensibility, and increasingly enjoy experimenting with new materials.
Of course, when I go to Korea, I can find and buy everything one could dream of, but I don’t want people to be captive to a specific fabric. I want everyone to be able to discover and create.
During an online workshop, I was able to discover beautiful creativity with participants from around the world. Each created with what they had on hand, sometimes even with recycled fabrics or non-wovens … with no hesitation.
After sketching and choosing fabrics, the next step is to make blocks and assemble them. The seam allowance is 5 mm — some Koreans even work with 3 mm allowances! Preparation is important to achieve an interesting aesthetic. Fabrics are folded with a small ruler and a Teflon creaser. Pieces are cut with a rotary cutter, and little by little the bojagi is constructed. The sewing techniques used are simple, either overlock or running stitch.
It’s necessary to square off the blocks before assembling them and, also, when the work is finished. All around the bojagi, I make a double 5 mm hem to maintain the uniformity of the seam allowances.
Then, you can decorate your bojagi with very simple embroidery stitches like couchure or small nervure stitches. The important thing is to enjoy yourself, to create and see the bojagi come to life in front of your eyes. I always find it magical when I place it in the air, in the light, in front of a window.
Transmitting my know-how
It is always a great pleasure to share my passion with beginners, and that is why I continue to teach workshops all over France, Europe, and the world. Sometimes, other people become really passionate. I believe that each of us can create — it just takes the desire to do so. I was fortunate to conduct online workshops with participants who did not necessarily have the traditional materials. I was impressed by the creativity and shared pleasure during these workshops.
Creativity is about wanting to try, and playing with the material. Sometimes it is a long journey — you have to mature, reflect, and manage the difficulty — but in the end, there is always happiness. I believe it is human nature: Children all love to draw and create, even if this spontaneity disappears as they grow up. So let’s think about playing simply.
How I realized I might be an artist
I first realized I was creative as a child … and later undersood I was an artist through my encounters with visitors to my exhibitions. Their interest in my work, and their questions, led me down this path.
Exchanges with other artists, textile or not, allowed me to understand what “being an artist” could mean. … I like to keep my feet on the ground and, above all, not stray too far from it, risking los- ing the excitement felt during creation. Indeed, for me, nothing is ever taken for granted. I like to question myself, go where I have not yet gone, and always accept the challenge.
My experience and satisfaction
I have had the pleasure of giving lectures, teaching and introducing my bojagi in many countries: Europe (Italy, Spain, Czech Republic, and, of course, France), the United Kingdom, the United States, Russia, Turkey, Japan and (and yes!) Korea. I have exhibited in all these countries at major festivals; and each time, it is simply incredible. I am always surprised by the curiosity and interest of the visitors.
Introducing this magnificent art makes me happy and proud. Sometimes I feel like I’m living a waking dream, and I find it hard to believe that one of my bojagi is part of the Chojun Textile & Quilt Art Museum in Seoul, and how fortunate I have been to have experienced such beautiful encounters. I also now have many Korean friends who are dear to me, like sisters, and with whom I have come a long way.
My most recent wonderful experience was in June 2023, when I was invited by Chunghie Lee to participate in an artist residency in Jinju. This city produces beautiful silk and is now part of the UNESCO network. I was part of a group of nine international artists (from Germany, Poland, Venezuela, Colombia, France, Mexico and the United States) and 10 Korean artists from Jinju.
We worked together for 10 days at the Jinju Craft Centre, and these days will remain in my heart for a long time. Such strong memories, such rich moments — unforgettable. Our works were exhibited during the Jinju Biennale last October.
Looking ahead
There is no shortage of projects for 2024! I always thank everyone for their interest in my work. I am delighted to share my journey through the universe of bojagi with your readers. I hope I have aroused curiosity, and the desire to discover! Most of the time, it is possible to see my work at exhibitions. Social networks like Instagram or Facebook also allow for connection and discovery of my recent work.
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From Isabelle Fish | It was at the Festival of Quilts in Birmingham, U.K., last year where I discovered the art of bojagi through Maryse Allard’s poetic creations. The threads of her work bind together Korean and French traditions, creating a body of work that varies from explosively joyous to delicately transparent and flowy. The simple geometric shapes trick the eye into believing that it is an easy craft, but the connoisseur will quickly identify the years of apprenticeship required to achieve such perfection.