Maro Fasouli
Textile sculptor
Athens, Greece
The wisdom of weaving
- Maro is inspired by folk architecture, Cycladic textiles, archives and relics
- Her work is a research practice connecting traditional weaving and architecture
- Her workshop was created organically as she collected materials and archives
Maro Fasouli studied at the Athens School of Fine Arts and acquired a master’s degree in visual arts at the same institution. "What I love most about weaving is the silence of repetition and the moment when the material acquires its own presence, one that transcends my intention," she explains. For Maro, the island of Tinos, and especially the area of Exo Meria, are an important place of reference, as traditional architecture and weaving intersect there. Through working with textiles and weaving, she learned that repetition is not monotony but a way to reach understanding: every knot, every mistake, every loose thread conveys knowledge. Today, she is represented by the CAN Christina Androulidaki Gallery. “The moment I realised that weaving is more than a technique, and rather a way of understanding the world, a tool for rethinking the boundaries of gender, home and property, was a turning point in my career,” Maro says.
INTERVIEW
The act of weaving combines gesture, time and thought simultaneously. Weaving connects the past with the present, and transforms the work into a field of reflection on identity and on the relationship between body and space.
Yes, I often collaborate with architects and researchers. This opens new fields of understanding about how craft practices co-exist with theory, history and social memory. It helps me redefine where my work stands in relation to the visual and the architectural, the individual and the collective.
It always begins with researching a place or a fragment of an archive. Then, the gesture of tying, wrapping and weaving follows. The work is created through repetitions, imperfections, mistakes and rhythms that arise organically.
I work with textile techniques and experimental forms of binding. I combine wool, cotton, synthetic fibres, marble bases and parts of looms, creating installations that balance stability with the fragile tension of the thread.
