Do you consider yourself a weaver?

CCKG: Yes, I call myself a weaver. Even though I make most of my artwork using industrial machines, all the knowledge and experience I put into my Jacquards come from my technical weaving training. You can not learn how to use weaving machines without a solid understanding of weaves. Only when you have internalised the technique, the next step can be taken. But apart from the technology, I also feel very connected to the community in the weaving craft and would like to bring this spirit to the outside world.

"00067-02-500", 2019 Photo by Florian Seidel, Munich

Honorable Mentions Award at KOGEI Award Toyama, Japan


Constanza Camila Kramer Garfias has dedicated herself
to textiles which she explores, examines and questions as both the central medium and subject of her artistic practice. Throughout her work she reflects on social issues, cultural practices (past and present) and the transformative potential of textile work.

A Chilean in diaspora, her cultural heritage has been a re- curring motive for the artist, especially in regard to the tradi- tions and ancient knowledge of the Chilean Mapuche people. Following her ancestors’ long history into the present, Kramer Garfias creates an acronical conversation, centred on visual histories. Throughout her critical approach she develops artistic strategies that deal with hegemonic power structures, whilst remaining self-reflective.

What compliments Kramer Garfias’ dedication and highly focused production process is her curiosity for invention and experimentation. Her ongoing serial projects are Jacquard weaves, fusing industrial and artisanal techniques with con- temporary technologies. Procedures like multiaxial weaving, hyperlinking, coding, tufting and even artificial intelligence have all been part of her projects.

An important characteristic found in most of her works is Kramer Grafias’ specific use of free floating yarns, which she modifies constantly. These ‘lost stitches’ seem like they are escaping the surface of the textile, interrupting its otherwise impeccable finish.

Though often demanding and complicated in preparation Kramer Garfias favours the potential of the experiment over fears of technical failure. This bold mindset often leads the artist to unexpected discoveries. As a result her body of tex- tile works remains playful; taking various forms, sizes and aesthetic languages.