The Longest Canvas to Dine

For our autumn collaboration, we joined forces with the contemporary artist Jelena Bando. We’ve been following her work for a while, and we were drawn to her approach to painting, where emotions are conveyed through linear strokes and coloristic geometric elements.

For this collaboration, Jelena decided to step out of her usual painting format and create a functional object – a tablecloth with motifs inspired by the pattern of the “Black and White Scarf” from our collection. Later, the tablecloth was exhibited during an intimate dinner in Jelena’s studio, where we celebrated the collaboration in the atmosphere of the studio, surrounded by Jelena’s work both on the table and around us.

1. What prompted you to create a tablecloth as an object for this collaboration?

The idea for the tablecloth came as a reaction to the item that was set on the other side, which was a scarf. The tablecloth in the form of canvas came naturally, considering that painting is my medium, while the tablecloth as a product came out of necessity for the dinner I decided to organize in my studio.

2. What inspired you in its creation? What are the motifs on the tablecloth? Is there a theme?

The inspiration continues from my recent series of works titled “Cracked Horizons,” where I explore the context and relationships between the interior and exterior of my studio. Therefore, the motifs are largely dedicated to nature, facades, walls, and cracks. In this work, I transpose the exterior of the building into the interior space of the studio and materialize it as an intimate experience of creating new landscapes. I was particularly interested in creating warm and cold zones of perception that complement each other through spatial installation.

3. What did the process of making the tablecloth look like? What material and medium did you use and why?

I used ink and cotton textile for the material. I also used ink throughout the entire series of “Cracked Horizons” because it offers the possibility of layering, but also flatness, depending on how you treat it. In cotton, I found something that I can’t find in traditional linen canvas, which is ease and easier maneuvering with the material.

4. How did you reference the Black and White scarf? Why did you choose that scarf?

Personally, I chose that scarf because it’s my favorite, but I also recognized in it a kind of my own graphic style when I work in black and white. I find the appearance of brush texture and the density achieved on the scarf particularly interesting.

5. What do dinners in your studio mean to you? How did you come up with that idea?

Dinners for me mean gathering creatives and connecting people from a similar sector who may not necessarily know each other personally. Additionally, dinners provide a more relaxed form compared to, for example, exhibition openings or similar events where I often find myself. The idea originated more from a standpoint – if I do such things at home, why not transfer everything to the studio, of course with a different atmosphere and setup.

Special thanks to Lea Vene for the contribution.

To see more of Jelena’s work, visit her website www.jelenabando.com or instagram @jelena_bando

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