MICHAËLLE SERGILE - PORTRAIT

2020

 

 

SOME THOUGHTS BY MICHAËLLE SERGILE

 

On Inspiration/Code Development


Interested in rewriting history through weaving, I mainly rework texts and books on postcolonial theories. Frantz Fanon, often cited as one of the most important authors of postcolonial theories, addressed as early as 1952, in Peau noire, masques blancs (Black Skin, White Masks), the power relations between colonizers and the colonized, as well as between Black individuals and their communities.  It is through this major work that the codification system took shape, allowing me to weave books and passages questioning cultural identity.

 

The lexicon of weaving is very much linked to questions of identity. When we weave threads that intertwine and form intersections, it is a form of discourse that takes place. At times, they reflect a cultural crossbreeding where the fabric becomes a crossroads between different cultures. While at other times, these threads reflect the intersections of an intersectional thought.

 

I also question the relationship between the writings of authors such as Frantz Fanon, Mayotte Capécia and Félix Mnthali, focusing on the place black women occupy in these postcolonial narratives and their cultural identity, as well as the notion of the "foreigner" through mediums such as photography and sculpture.

 

 

 

On Textiles & handicrafts


What interests me about textiles is of course the possibility of creating a discourse from the lexicon of weaving, but it is also the perception that we have/had of this medium that challenged me. I like to tell myself that through this medium, I defy the canons of contemporary art and make central something that remained until now, in the margins of the art world. I am also learning a technique, tufting, which allows me to combine paintings with textiles, the medium of choice and "craft". This technique for me, is a possibility to create a discourse on the two mediums that we often oppose, and further make them become complementary. 

 

 

 

On Rad Hourani


I met Rad Hourani through a friend, and I am infinitely grateful to her because this meeting led to a memorable discovery. I immediately appreciated Rad's UNISEX collection and the desire to eliminate labels. This same desire can be found in his curatorial practice where he puts forward works without any label as to the artist's origins. This is a political choice that interests me a lot, since it allows me to counter a discourse on the hyper racialization of artists in visual arts, in which the artist can be seen as a quota or as a checkpoint in a list of merit.

 

 

 

MICHAËLLE SERGILE PHOTOGRAPHED BY SABRINA JOLICOEUR - WEARING RAD HOURANI UNISEX CLASSIC COLLECTION

© RADHOURANI