AIR
23.04.2025 - 18.06.2025
The Australian Tapestry Workshop (exhibition website)
South Melbourne AU
Open call residency
The Tannin and Cloud study series of works were developed during a two-month residency at the Australian Tapestry Workshop from April to June 2025.
Exploring resist dye techniques for Ikat weaving and natural dyeing using materials of personal and cultural significance, Stojanović worked closely with chemical and botanical dye experts Tony Stefanovski and Heather Thomas to develop processes which informed a new body of work.
23.04.2025 - 18.06.2025
The Australian Tapestry Workshop (exhibition website)
South Melbourne AU
Open call residency
The Tannin and Cloud study series of works were developed during a two-month residency at the Australian Tapestry Workshop from April to June 2025.
Exploring resist dye techniques for Ikat weaving and natural dyeing using materials of personal and cultural significance, Stojanović worked closely with chemical and botanical dye experts Tony Stefanovski and Heather Thomas to develop processes which informed a new body of work.
Continuing her ongoing exploration of the intersection between painting and weaving, The Cloud studies are a series of hand woven samples that explore various resist dye techniques in both the warp and the weft. The series takes its title from the historical Uzbek moniker for Ikat, ‘abrbandi’, with its literal translation, ‘to tie a cloud’. Ahering to a limited colour palette of red and white, dyed and non-dyed yarn, Stojanović aimed to explore the potential of pattern and gradation using solely a resist tie method. The series of Cloud Studies approach the idea of painting in reverse, whereby the surface image is predetermined before the structure of the canvas itself is woven.
In further attempts to limit her use of colour, Stojanović created a suite of samples adopting the traditional tapestry weaving methods used by the weavers of the Australian Tapestry Workshop, using cotton yarns that were naturally dyed with pomegranate tannins, extract, and dried powder. Exploring the various outcomes dependant upon time and mordanting, her aim was to extract a diverse range of colour from a single plant, inviting an element from nature to determine the palette of the work. The pomegranates were sourced from her mother’s tree which was at the time reaching its final cycle of the year, and conjuring ideas around life and rebirth linked to the mythology of Persephone and her six sustaining pomegranate seeds.
Tannin I 2025, handwoven tapestry, pomegranates and cotton, 18 x 19 cm.
Tannin II 2025, handwoven tapestry, pomegranates and cotton, 24 x 21 cm.
Cloud study I + II 2025, handwoven and resist dyed cotton.