Pia Wessels

Pia Wessels | Glam Wummen | 2024

Can you tell us more about the influence your childhood neighbors had on your artistic journey?

I had two wonderful neighbors. One of them was a dancer in big shows during the 1920’s and 30’s. The other one used to know all the famous Berliners during the 1920’s Claire Waldorf, the young Marlene Dietrich etc. and worked as a singer and actress. Both had a selection of old stage dresses, hand-knotted ostrich’s feathers, beads and pearls in tins. They gave me trousers they wore in the 1920’s, red velvet  dresses or skirts made of military coats. All these pieces of clothing seemed to have a secret. I felt connected to the past and to a hidden world. I was enchanted and my curiosity came alive and I started to learn more about textile history and fabrics. All these wonderful pieces of clothing set my desire for costume and fashion on fire.

What draws you to historical costumes and theater fashion, and how do they inspire your current practice?

I see the knowlege of historical fashion as the basis of my work. It is always an inspiration. I always discover new things that I find interesting. And I take the liberty to transform them or mix them and therefore give to a garment new meaning.

It enables me to create a new world – talking about the theatre. Or it converts a piece of clothing into something new – a new piece of textile art.

Pia Wessels | Jumping out of the window | 2024

Your work often blurs the line between object and garment — do you consider your textile installations more as sculpture or as wearable art?

It always depends on the topic. Part of it are sculptures, others are installations and the third part of my work is wearable. These are coats I made with a new interpretation of an old “inlay technique”. They can be used as a garment, rug or wall hanging.

In your installations, how do you approach the relationship between fabric and space?

Very often it is only a very vague idea. I want to fill the space. Blur the line between fabric and space. But I can never foretell how I am going to achieve it. It is a process with different layers of ideas and experiments. And very often it turns out completely different from the initial idea. So I start working with it. I follow the thread.

Pia Wessels | Shooting | 2022

How do you choose your materials? Do they come first, or does the concept guide your selection?

It is always both ways. Sometimes I see a wonderful piece of fabric that triggers me. But often I start with an idea and then start searching for a piece of fabric or garment.

The themes of ‘border crossing’ and ‘experimentation’ are central to your practice. Could you elaborate on what these mean for you artistically?

They both give me freedom in my art. Crossing borders is a journey and I never know what the result will be. I try to suprise myself and the observer.

And of course working as an artist contains the experiment. I never know if I succeed or fail.

But it is a liberty and liberation of my work. I feel not bound to any obligation.

Pia Wessels | Mammon | 2022

Your projects often involve collaboration and dialogue. What role does community play in your creative process?

Dialog has always been a central part in my work. As I am a curious woman, I find it interesting to hear other storys, ideas. Listening to others is a wonderful thing to do. Working together on ideas is even more so.

Community and dialog give me the chance to reflect on my work with the help of others or even better- friends.