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Portait in the German Felt Magazin filzfun published 01/16
Wednesday, 22 June 2016 02:41 THE PATIENT WORK OF FELT INDIE
You may have spied the work of German-born artist Margit Mederich in our current issue’s Slow Emporium - and with good reason. The felt artist works with only raw fleece to create the most unique range of home decor we’ve clapped eyes on.
Now based in the Byron Hinterland, Margit takes fleece straight from the sheep’s back to create her range, which includes woollen rugs and wearables. “I source much of the wool direct from small farms in New South Wales, where most of the sheep are known by name,” Margit tells us.
“Sheep are only shorn once a year and no two fleeces will ever be the same, even those from the same sheep will differ year by year,” says Margit. “Coming straight from the sheep’s back, these pure coats are rich in lanolin and still strewn with remnants of hay, grass and vegetation.”
Each ‘Wool Island’ rug is made of a whole fleece from a natural coloured sheep, and are an animal-friendly (and leather-free) alternative to the traditional sheepskin rug. Margit takes pride in each piece, which is created naturally - and with a whole lot of patience. “I use only my hands, water and olive oil soap,” Margit tells us the technique is known as wet felting. “A grounding and heavy work which is incredibly satisfying for me.”
Not to mention incredibly satisfying to the eyes of decorators looking for a unique, one-off piece to add to their home. Take a look for yourself at feltindie.com.
You may have spied the work of German-born artist Margit Mederich in our current issue’s Slow Emporium - and with good reason. The felt artist works with only raw fleece to create the most unique range of home decor we’ve clapped eyes on.
Now based in the Byron Hinterland, Margit takes fleece straight from the sheep’s back to create her range, which includes woollen rugs and wearables. “I source much of the wool direct from small farms in New South Wales, where most of the sheep are known by name,” Margit tells us.
“Sheep are only shorn once a year and no two fleeces will ever be the same, even those from the same sheep will differ year by year,” says Margit. “Coming straight from the sheep’s back, these pure coats are rich in lanolin and still strewn with remnants of hay, grass and vegetation.”
Each ‘Wool Island’ rug is made of a whole fleece from a natural coloured sheep, and are an animal-friendly (and leather-free) alternative to the traditional sheepskin rug. Margit takes pride in each piece, which is created naturally - and with a whole lot of patience. “I use only my hands, water and olive oil soap,” Margit tells us the technique is known as wet felting. “A grounding and heavy work which is incredibly satisfying for me.”
Not to mention incredibly satisfying to the eyes of decorators looking for a unique, one-off piece to add to their home. Take a look for yourself at feltindie.com.
Your browser does not support viewing this document. Click here to download the document.
Slow living Magazine Winter 06/2016
FELT The Australian Felt Magazine published 06/2016
The BOOK review / Byron Bay published 11/2016
MEET THE MAKER: MARGIT MEDERICH, FELT INDIE
POSTED BY: RACHEL DORN - 04/10/2018 for www.uscha.com.au
German-born artist Margit Mederich explores the primitive art of felting, creating unique, handmade pieces that are stamped with her love for nature and her profound sensitivity towards the environment. We caught up with the artist behind Byron-based Felt Indie, to discuss the evolution of her craft, her passion for natural, raw materials, and her inspirations.
How did you become introduced to the ancient craft of felting?
In 2012 I moved with my family to Australia. We enrolled our son in the local Steiner pre-school. One of the first craft projects they did with the children was [felting]. The parents were asked to come and help the children with this activity.
The moment I tried it was like magic to me. I was completely fascinated from the process and what happened through my hands with a little bit of wool fibre, soap and water.
The next day I went to the library and borrowed all the books I could find on felting. I started with easy projects and taught myself as much as possible.
I realised that felt offered endless opportunities. I could create anything from lightweight shawls to hats and bags to lampshades.
I was amazed by the diversity of what I was going to explore.
Back then I started a Facebook page called Feltwelt with the aim to bring all the different aspects of felt art together.
At this stage I was still felting with dyed wool tops in the most beautiful colours until I came across a wool supplier who offered only natural coloured wool tops and also fleece. Back then I did not know what fleece was with my limited English vocabulary. I ordered a whole selection of natural wool tops and fleece. As the parcel arrived and I opened up the bag I was in love with the natural colours and started playing with the shorn wool immediately. Through my research I knew that there were people in Europe who felted with raw wool and now I was given the opportunity to try it out myself.
I started with small cushions, rugs of different types of wool and the pieces naturally became bigger as I became more confident in the process.
It became clear to me that working with raw wool was what ignited my passion the most. It was a soul fulfilling (sic) experience and I’m very grateful for this journey, which started so spontaneously.
How has your personal history, growing up in Germany and helping your grandparents on their farm influenced your creative practice?
I grew up in West Germany and during the summer holidays I was allowed to visit my Grandparents in East Germany. I loved being in the countryside on their farm having so many animals and nature around me. Every morning and evening my Opa and I would go to the garden where the sheep and ducks and chooks lived to feed them and to bring them into shelter for the night. I loved doing this. So after all those years when my first fleece got delivered and I unpacked the bag, the smell of the wool with its natural lanolin, brought back these memories instantly.
I feel it is the simplicity of life back then, the quietness of the countryside and the slow handmade approach to everything on that farm, that has influenced me the most.
Your pieces are so beautiful, they look and feel so organic, like sheepskin. How has your sensitivity to the environment shaped the way you select your materials and create your work?
I find it very important to create something, which has a purpose and good use in the world. I don’t want to add anything to the mass of useless, throw away, plastic goods in this world and their suffocating impact on the ecosystem.
For me it is very important to work with natural materials, which I can track back to where they come from.
For example the wool I use comes from small Australian farms where most of the sheep are known by name and get treated well. The sheep get shorn once a year and I make an animal friendly sheep-rug out of their fleece. The sheep is still alive and grows new wool.
In this age of technology, there’s been a real rise in demand for objects made using traditional hands-on processes. We consider these processes important as they connect us to each other and the natural world. What do you love most about working with your hands and raw, natural materials?
I like the fact that I only use soap, water, raw wool, my hands and muscle power in the process. This is exactly how the first fabric was made thousands of years ago.
Going back to the basics slows everything down, being in contact with those materials and working with my hands and full body connects me with myself and brings me into the present moment. For me felting is like a meditation, the repetition within the process is what teaches me patience (which I hardly have) growing up in a world where you can instantly satisfy your desire.
What inspires you?
The slow ageing process in nature. the texture in an aged piece of timber, an old brick wall that begins to tell a story, a rock that shows layers of sediment. Those things have a time transcending quality to me and I love that sense of timelessness.
Describe to us your most treasured object.
I treasure my collection of handmade pottery the most. For me it is like an addiction. When I go somewhere, most of the time I end up buying a piece from another ceramic artist. My young kids help me so that my cupboards never overflow. These cups and plates add so much character to a table and I love the feel and unique look you will never have with something mass-produced. There is soul in every piece, similar to my felted fleece rugs.
POSTED BY: RACHEL DORN - 04/10/2018 for www.uscha.com.au
German-born artist Margit Mederich explores the primitive art of felting, creating unique, handmade pieces that are stamped with her love for nature and her profound sensitivity towards the environment. We caught up with the artist behind Byron-based Felt Indie, to discuss the evolution of her craft, her passion for natural, raw materials, and her inspirations.
How did you become introduced to the ancient craft of felting?
In 2012 I moved with my family to Australia. We enrolled our son in the local Steiner pre-school. One of the first craft projects they did with the children was [felting]. The parents were asked to come and help the children with this activity.
The moment I tried it was like magic to me. I was completely fascinated from the process and what happened through my hands with a little bit of wool fibre, soap and water.
The next day I went to the library and borrowed all the books I could find on felting. I started with easy projects and taught myself as much as possible.
I realised that felt offered endless opportunities. I could create anything from lightweight shawls to hats and bags to lampshades.
I was amazed by the diversity of what I was going to explore.
Back then I started a Facebook page called Feltwelt with the aim to bring all the different aspects of felt art together.
At this stage I was still felting with dyed wool tops in the most beautiful colours until I came across a wool supplier who offered only natural coloured wool tops and also fleece. Back then I did not know what fleece was with my limited English vocabulary. I ordered a whole selection of natural wool tops and fleece. As the parcel arrived and I opened up the bag I was in love with the natural colours and started playing with the shorn wool immediately. Through my research I knew that there were people in Europe who felted with raw wool and now I was given the opportunity to try it out myself.
I started with small cushions, rugs of different types of wool and the pieces naturally became bigger as I became more confident in the process.
It became clear to me that working with raw wool was what ignited my passion the most. It was a soul fulfilling (sic) experience and I’m very grateful for this journey, which started so spontaneously.
How has your personal history, growing up in Germany and helping your grandparents on their farm influenced your creative practice?
I grew up in West Germany and during the summer holidays I was allowed to visit my Grandparents in East Germany. I loved being in the countryside on their farm having so many animals and nature around me. Every morning and evening my Opa and I would go to the garden where the sheep and ducks and chooks lived to feed them and to bring them into shelter for the night. I loved doing this. So after all those years when my first fleece got delivered and I unpacked the bag, the smell of the wool with its natural lanolin, brought back these memories instantly.
I feel it is the simplicity of life back then, the quietness of the countryside and the slow handmade approach to everything on that farm, that has influenced me the most.
Your pieces are so beautiful, they look and feel so organic, like sheepskin. How has your sensitivity to the environment shaped the way you select your materials and create your work?
I find it very important to create something, which has a purpose and good use in the world. I don’t want to add anything to the mass of useless, throw away, plastic goods in this world and their suffocating impact on the ecosystem.
For me it is very important to work with natural materials, which I can track back to where they come from.
For example the wool I use comes from small Australian farms where most of the sheep are known by name and get treated well. The sheep get shorn once a year and I make an animal friendly sheep-rug out of their fleece. The sheep is still alive and grows new wool.
In this age of technology, there’s been a real rise in demand for objects made using traditional hands-on processes. We consider these processes important as they connect us to each other and the natural world. What do you love most about working with your hands and raw, natural materials?
I like the fact that I only use soap, water, raw wool, my hands and muscle power in the process. This is exactly how the first fabric was made thousands of years ago.
Going back to the basics slows everything down, being in contact with those materials and working with my hands and full body connects me with myself and brings me into the present moment. For me felting is like a meditation, the repetition within the process is what teaches me patience (which I hardly have) growing up in a world where you can instantly satisfy your desire.
What inspires you?
The slow ageing process in nature. the texture in an aged piece of timber, an old brick wall that begins to tell a story, a rock that shows layers of sediment. Those things have a time transcending quality to me and I love that sense of timelessness.
Describe to us your most treasured object.
I treasure my collection of handmade pottery the most. For me it is like an addiction. When I go somewhere, most of the time I end up buying a piece from another ceramic artist. My young kids help me so that my cupboards never overflow. These cups and plates add so much character to a table and I love the feel and unique look you will never have with something mass-produced. There is soul in every piece, similar to my felted fleece rugs.