Calls for creation

Infinite flowers: le tableau-objet (Infinite flowers: the painting-object)


Infinite flowers: le tableau-objet, by Maroussia Rebecq, 2015 3rd Prize equal ranking

The fashion designer Maroussia Rebecq, alias Andrea Crews, proposes a series of fanny packs coming from a painting-piece, which would stay as an art work after the cutting of the pattern.

The weaving is realized by the Atelier de la Lune.



Calls for creation

Canne à motif de paon (Stick with a peacock motif)


A series of sticks, by Alessandro Piangiamore, 2015 3rd Prize equally ranked.

For the 2015 call for creation “Aubusson weaves fashion”, the Italian plastic artist Alessandra Piangiamore proposed a series of sticks, at the border between luxury accessories and “utilitarian object”. It takes the motif of the peacock back, which is very present in the tapestries from Aubusson, notably by Dom Robert, to give it both an abstract and a natural form.

The weaving was realized by the Atelier Catherine Bernet.


Calls for creation

Libramen forma


Libramen Forma, Prisca Vilsbol and Dagmar Kestner, 2nd Prize 2015 “Aubusson weaves fashion”

For their project Libramen Forma, Prisca Vilsbol and Dagmar Kestner founded their thinking on the passage of the 2-D tapestry into the volume of a 3-D garment. Thus, it is a statuesque dress, which they are providing.

They also aimed to overcome the stiffness of the tapestry material to draw a flowing garment. The two designers chose to create an impression of volume thanks to a fold of fabric in trompe l’oeil style. Thus, even though the garment has a straight-cut, forms emanate from it.

The weaving was realized by the Atelier Françoise Vernaudon. The designers proceed to the assembly of the dress in their studio in Copenhagen.

Prisca Vilsbol is French and Danish, Dagmar Kestner is German and Romanian. They are both fashion designer.


Calls for creation

Teddy, by Christine Phung


Christine Phung won the Cité’s Grand Prize 2015 for her “glitched” Teddy jacket

The creator chooses an iconic sportswear piece: the teddy jacket. She adds a clutch with it.

Taking inspiration from digital aesthetics, Christine Phung develops collections for the Y generation. She imagined a “glitch” motive that is coming from screen errors resulting from electronic failures. Willfully blurry, the motif gives an impression of movement. Christine Phung then plays with the poetical sense which can be given to an immediate mistake.

The pattern has been imagined so as the weaving, done flat, takes then a 3-D form thanks to the side sewing and above the sleeves. The weaving was entrusted to the Atelier Catherine Bernet (Felletin) and the piece fall from the loom on June 13th, 2018. Christine Phung then proceeds to the assembly with a sewing workshop.

Christine Phung, fashion designer in charge of her own brand since 2011, was named laureate notably of the ANDAM Fashion awards in 2013, category “First Collection”, which has opened to her the Parisian Fashion Week’s calendar. She took the lead of Leonard Paris’ artistic Direction in the beginning of 2016.

Calls for creation

If, tapisserie installation (If, tapestry installation)


If, from Pascal Haudressy – tapestry installation on the theme “Tapestry-Matrix”, 2014 call for creation
Dimension of the tapestry: 3,20 m x 4,70 m. Resin sculpture, video screening

Linked with the State (Direction Générale de la Création Artistique / Direction Régionale des Affaires Culturelles / Massif Central), the call for creation took this year the form of a public artistic order for the making of a “tapestry-matrix”. This work aims to be mobile and itinerant, both a work of art and a mediation device. The jury designated Pascal Haudressy for his mixed media proposition: If.

A multidimensional project associating tapestry, resin sculpture, video screening and mediation device

Tapestry, sculpture, digital screening and cultural mediation device about the creative process of woven art, this piece sets at the same time history, tradition and tapestry know-how, while revisiting the medium’s scope of possibilities.

This piece, cultural matrix, legacy foundation, is both in relation with the past, History and our era. It leans on a temporal know-how and proposes a contemporary reinterpretation dialoguing with the issues and the representation systems of our time.

Formally, the tapestry is composed of three physical outlines, which act as molds in a structural and supportive way. One sculptural part, a foreground, then a second outline in the depth of field and finally the frame work. These three outlines complete each other and each frame surrounds the other and allows it to build itself.

The project extends the tapestry history through the iconic genre of the “greenery”. A vibrant, moving greenery where a fixed physical space, such as a legacy base, merges with potentiality, immateriality and a renewed movement without interruption, reconfigured, matrixed, in a contemporary synthesis.

Pascal Haudressy took inspiration from Caspar David Friedrich’s painting The tree with crows, in which the time seems suspended. He introduces a contemplative, meditative dimension, in our contemporary era marked by the virtual. He puts forward the pattern of the crow, link between the physical and spiritual world, between the woven media and the projected light.

The branches, in the foreground, give an impression of tree bark. In the middle ground, thinner, they seem to disappear, as if they were gradually absorbed by light. The sky occupies the background, like a framework, in which the tapestry and the ballet of the clouds blend. Thus, there is an impression of the tapestry absorbing the image at the same time that the image smooths the weaving’s weft.

Pascal Haudressy particularly comes across the question over the relationship between video and new mediums. The tapestry opens here new perspectives: the project summons both the traditional know-how and the research for new materials; it is both in relation with our era and takes root in the renewal of a temporal know-how. It intertwines a concrete textile material and material of light/movement, tradition and innovation. It is about creating new emulsions and interlacing, so much on the technical aspect as on the perceptual one. The video medium plays with the weft and the knot of the tapestry. The former, far from being a mere screen, functions by emulating the screened image, becomes “matrix” of the video and informatics mold, constituted of real captures footages and generated images.

The process in searching in light proprieties, optics in materials and their textures for the technical realization of the weaving – and through the latter the displayed know-how – is documented. The specificities of the different stages of the creation and production will be put forward in an objective of mediation.

The tapestry weaving was realized by Patrick and Marie Guillot’s workshop and Cc Brindelaine in 2015.

Pascal Haudressy, born in 1968, lives and works in Paris. Engraver and digital artist, his works count among the collection of international personalities and businessman. He is represented by the Louise Alexander Gallery. After ten years spent at UNESCO as head of the cultural projects and many realizations implying artists of international renown, Pascal Haudressy decides to devote himself fully to his personal artistic work. His first works date back to 2005. His work creates a link between past and future, between science and myth. From the very beginning, his sculptures, installations and videos characterize by their exceptional technicity and the use of high-tech materials and technologies. The esthetically pleasing aspect of a work fully well-worn by the artist never loses a strong symbolic dimension and an existential questioning on the becoming of Mankind. The mutations of the reality and the plurality of experiences which stems from it, constitute the nodal point of the consideration and Pascal Haudressy’s artistic experience. Discover the work of Pascal Haudressy on his website.


This project benefited from financial support from the Minister for Culture and Communication, the Programme Opérationnel Massif Central and the Languedoc-Roussillion Region.

Calls for creation

Deux parterres, un reflet (Two flowerbeds, one reflection)


Jane Harris, 4th Prize – 2013 Call for contemporary creation
Dimensions: 84 cm x 105 cm

For the 2013 edition of the call for contemporary creation of the Cité internationale, Jane Harris proposed a five-colored project retaking the forms, with which she is used to work.

After art studies at the Goldsmith College of London University, Jane Harris centered her work on a research on the subject of the gardens. She benefited, to see her works through to the end, from a grant in Japan, then in France, where she studied successively the traditional Japanese gardens and the classical French gardens.

Her artistic practice, sometimes qualified as “rococo-minimalist”, structures around curvy, rounded, oval forms, in a play on reflection and mirror. For the call for projects “Les nouvelles verdures d’Aubusson” (the new greeneries of Aubusson), her approach of the tapestry is based on uniformed colors and works on symmetry. She aims to work on the volume to emboss the design of the woven work. The weaving was entrusted to Patrick Guillot’s workshop in Aubusson (2015).

Painter-artist from English origins, Jane Harris lives and works in Dordogne. After graduating the Beaux-Arts at the Goldsmith College of the University of London, she then teaches there for 15 years. Her works integrated amongst others the collections of the FRAC (Aquitaine and Limousin) and the Art Collection of the British government. In 2011, she was an artist-in-residence at the Josef Albers Foundation (Connecticut, USA).

Calls for creation

Bordure des bois (Edge of the woods)


Diane de Bournazel, 3rd Prize – 2013 Call for contemporary creation
Dimension 180 cm x 31,5 cm

An intimate work, in which tapestry and illumination.

Diane de Bournazel mostly works on a small scale. Her works stand out by a very intimate, muted approach. At once painter, illustrator, plastic artist and engraver, she carries out illustrating activities in youth publishing but devotes herself essentially to the realization of unique painted and cut books. Her artistic books are small precious objects, filled with lyricism and poetry. In that, the transposal of her work into the tapestry medium is interesting in several ways. It is both a game of scales for the dimensions and a game of mirrors for the narrative aspect of the work. Indeed, Diane de Bournazel’s drawings end the illuminations are combined with the primitive art and culture, merging diverse cultures, notably eastern and pre-Colombian. The tapestry Bordure des bois has been woven by the Atelier A2 in 2014.

Diane de Bournazel lives and works in Corrèze. Added to her illustrating and illuminating activities, she takes part in volumes of contemporary poetry. Her work features many public and private collections in France and abroad and she exposed in Paris, Marseille, London and Marrakech.

Calls for creation

La famille dans la joyeuse verdure (The family in the happy greenery)


Leo Chiachio and Daniel Giannone, 2nd Prize – 2013 call for contemporary creation
Dimension of the project: 3 m x 5 m

Like the Great Prize, the second prize 2013 was won by a duo of artists, Argentinians this time. Their project is a jubilatory painting, inspired by the Latin-American imaginary – notably guarani – of the forest and stamped with a magical realism in the style of the Argentinean Julio Cortazar’s or the Colombian Gabriel Garcia Marquez’s literary works.

In Leo Chiachio’s and Daniel Giannone’s painting, nature appears luxuriant, made of an infinite wealth of colors, colors and materials. Sometimes, it even turns into sparkling jewelry. Nature is presented on a scale which is higher than the human figures to underline how it is essential to protect it. The Aubusson tapestry was traditionally conceived as a form of remembrance, story of great epics. In that, Chiachio’s and Giannone’s work is a token of the contemporary emergency of the protection of this nature.

As in each of their work, the two artists represent themselves in the center. Presented with masks and feathers from guarani inspiration, they are also accompanied by their dog Piolin to present a new familial pattern. It is about setting into the tapestry the changes which occurred in occidental societies regarding the new set-ups whose encounters today the familial institution.

La famille dans la joyeuse verdure follows perfectly the tradition and the history of the Aubusson greeneries. Indeed, it proposes to the spectator to sink into an immersive narrative universe tainted with fantastic elements. The central scene is placed within a greenery background, in which abound details both realistic and oneiric. The weaving of this great greenery scene was entrusted to the Atelier A2 in Aubusson. The monumental work was revealed to the public on Mai, 18th 2017. A small format version was woven by Patrick Guillot’s workshop in 2014.

Leo Chiachio and Daniel Giannone live and work in Buenos Aires. After a training at the Beaux-Arts, they decided to break their habits in their pictorial know-how and dedicate themselves to other techniques, notably the embroidery and the porcelain. In Argentina, they are represented by the gallery Ruth Benzacar and by the School Gallery in Paris.


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Calls for creation

Nouvelles verdures d’Aubusson (New greeneries of Aubusson)


Quentin Vaulot and Goliath Dyèvre, First Prize – 2013 call for contemporary creation

For the 2013 edition of the Cité’s call for contemporary creation, it is a designer duo which won the Great Prize. Their project binds tapestry and ceramics, in a hanging of five pieces. Dimensions of each tapestry: 180 cm high x 72 cm large.

Quentin Vaulot and Goliath Dyèvre adopted a science-fictional position to underline the fact that the greeneries of Aubusson are a mutant heritage. Their work is an assembly of five tapestries, introduced as the completion of biological-police related inquiry. Following the history conveyed par these tapestries, a mad scientist, in his secret lab, succeeded in transforming textile greeneries to produce new essences. This hanging is the scientific explanation of the experiences carried by a mysterious lab. The five tapestries correspond to five protocols in re-strengthening the greeneries, aiming to generate greeneries to make them more resistant to contemporary climate issues.

Thus, the five tapestries which compose this hanging develop each one of them, a protocol of new greeneries’ genetical manipulation showcased by the porcelain elements. These protocols consist in the isolation, the injection, the breeding, the luminous and sound exposal. These diverse protocols allow re-vivifying the colors of the greeneries element to give them a new shine. Study the greeneries through the biological prism allows then to question the contemporary relation to nature.

Entrusted to the Atelier de la Lune (Aubusson) in the 2014 autumn, the weaving of the hanging’s five pieces demanded two years of work. The weaver Nadia Petkovic led many scientific researches, both to reproduce areas from ancient tapestries and to vivify to the most the finishing sewing work once the porcelain elements are finished and the hanging systems are set on the tapestries.

Goliath Dyèvre (born in 1980) and Quentin Vaulot (born in 1983) live and work in Paris since 2009. Artists and designers, they were edited by Cinna, Petite Friture, Non sans Raison. They collaborated notably with the CRAFT in Limoges, Hermès, EDF and the National Monuments Center. They were exposed at the Vitra Design Museum and the Power Station of Art in Shanghai and were residents of the Villa Kujoyama in 2014. Nowadays, they continue their activities in separate ways.

Calls for creation

Le Bain (The Bath)


Christophe Marchalot and Felicia Fortuna, Jury’s special merit – 2012 call for contemporary creation

Finalists of the 2012 call for creation on the theme “Design furniture in Aubusson, Christophe Marchalot and Felicia Fortuna were distinguished by a Jury’s special merit for their project Le Bain. A creepy and seducing object, which seems to be directly coming out a contemporary cabinet of curiosities.

Quirky and unexpected project, Le Bain explores the tapestry medium, both by getting inspired and getting free from traditional category, to get into the grey area between design and plastic arts. Le Bain is material and shape, half-natural creature, half-object, as if it were coming from a surrealist vegetal world. It is a disturbing creation, unclassifiable, which transforms the pluricentennial narrative universe of the Aubusson tapestry into a sensitive experience, built around the fantastic bestiary.

In that, Christophe Marchalot’s and Felicia Fortuna’s project, located at the border of the vegetal and animal world, is in coherence with the essential qualities of the Aubusson tapestry, decorative medium, narrative and immersive. It sets and reminds of the raw materials necessary to the tapestry manufacturing: wool to weave, plants to dye. The tones are inspired by the shell of a Thai beetle, here re-worked by Mankind, echoing the strange and fantastic creatures from the Middle-Ages’ bestiaries, which inhabit the traditional greeneries of Aubusson.

The immersivity of Le Bain is double-sided. It sinks the spectator in a harrowing and sensual atmosphere, while it proposes to the body to submerge in water. The choice of the object-bathtub echoes the recurrence of the water theme in the works of the two artists and causes a breach until now unexploited in the tapestry field but involved from the 18th Century onwards by needle lace works for the making of bathtub’s surrounds. Decorative art by excellence, the tapestry essentially spread in the salons. It gets out here from its traditional range to enter a housing field, which it had not formerly explored. As an object evocating the sensuality, this tub creates an opening on the intimacy, far from the chivalrous epics, which were used as inspiration for many hangings in Aubusson.

The work showcases the ambivalent relationship mankind had, and always has with water. Le Bain puts forward the preciousness of the water, source of life at heart of the environmental and strategic issues of the 21st Century. But it also reveals the danger of this liquid, yet so necessary to Humanity and hygiene. The object reminds that, in the Middle-Ages, the triggering of the plague caused public baths’ closing. Evoking undeniably the HIV, the tub’s spikes refresh these dreads.

This artistic view proposed by Christophe Marchalot and Felicia Fortuna to illustrate their woven bathtub project seduced a collector visiting the Museum and ordered the weaving by Catherine Bernet’s workshop in Felletin. The work has fallen down the loom in December 2014.

Formed as an architect, Christophe Marchalot first devoted himself to the conception and the creation of furniture then to architectural projects, notably within the agencies Massimiliano Fuksas and Marc Barani. He then specialized in the layout and the panorama at the Conservatoire International des Parcs et Jardins in Chaumont-sur-Loire. Felicia Fortuna first studied drama at the Sorbonne Nouvelle, before becoming a plastic artist and author. They work together since 2008.