5 Questions with Crossing Threads®
Crossing Threads® is the collaborative work of Australian-born sisters of Filipino heritage Lauren Hernandez (b. 1988, Sydney) and Kass Hernandez (b. 1989, Sydney). These self-taught tapestry artists first explored the practice of weaving in early 2015 by attending a beginner’s workshop. Known for their large-scale and highly textural handwoven pieces, the Hernandez sisters seek to emulate the natural forms found in nature.
Their carefully curated fibre selections include Australian Merino wool, plant-based fibres, up-cycled/dead-stock fabrics and other foraged items that aren’t traditionally used in fibre art. Their practice has led them to develop their recognisable ‘interknot’ technique, made up of intertwining hand-knotted chains of varying texture and thickness which graduate to a relief. The artists continually draw spiritual inspiration from their surrounding landscapes and personal experiences and are materialised through their abstract designs.
(Crossing Threads®, UNDER MY SKIN, 2020, Bamboo, chenille, Egyptian cotton, hemp, Japanese silk, jute, leather, linen, merino wool, mulberry tussah, raffia and wire on galvanised steel frame Handwoven by Lauren and Kass Hernandez. Holding Patterns: Crossing Threads®; photo: Kai Wasikowski for 4A Centre for Contemporary Asian Art, courtesy the artists.)
No.1
Tell us about the works you have created for the Holding Patterns exhibition series at 4A and the interesting materials behind some of these pieces?
The works exhibited in our show include never-seen-before framed textiles handwoven during lockdown, as well as 2 multi-layered pieces: one is a large-scale tapestry hand-woven on a frame loom and the other is our first sculptural piece.
We love to create an abundance of texture and are constantly inspired by the interplay of traditional and non-traditional weaving materials. The large-scale piece titled ‘THE DIVIDE’ celebrates the beauty of upcycled materials such as hand-cut pre-loved denim featuring shades of indigo. One may find remnants of discarded denim jeans like zippers/button-flys embedded into the piece. Other upcycled materials, like vintage hand-cut leather and upholstery off-cuts also appear, along with botanically dyed raffia and other mixed natural fibres. Like the other works in the series, we aim to emulate the natural forms found in Mother nature and innovatively “breathe new life” into the old.
No.2
You are both self-taught. What sparked your initial interest in tapestry and weaving?
Being [born] 13 months apart, we are inevitably close as sisters and drawn to each other’s creative pursuits. Growing up, we both practised dancing and were involved with the creation of our dance costumes from watching our parents sequin and bead. We also visited multiple fabric stores. Our curiosity for the handmade and textile embellishment grew over the years and the needle and thread were never too far away.
In 2015, we attended a beginner’s weaving workshop and instantly caught “weaver fever”. With both of us living our own lives in adulthood, we saw the opportunity to connect over the weekend and hone our weaving skills, steadily improving and experimenting with new techniques. Building the brand of Crossing Threads® united us in our love for fibre, and weaving was an extension of our partnership. We are continually drawn to the cathartic “flow state” that accompanies the craft, as well as exploring new ways to manipulate fibre.
No.3
How did you develop your now-recognisable “interknot” technique? What inspired it?
The “interknot” has become an archetypal design feature of Crossing Threads®, representing the organised chaos and interconnectedness that we navigate throughout our daily lives. Birthed during a difficult time of grief in Kass’ life, this emotional energy was channeled through knotting intuitively.
Made up of irregular, hand-knotted chains of various thickness and texture, they are densely intertwined and entangled together. These fibrous chains symbolise the roots that ground us and the interconnectedness of relationships. This dense texture graduates upwards into a relief, exposing delicate warp threads at the top of the design—almost like coming up to the surface to breathe fresh air, yet highlighting the vulnerability of hanging by a thread. We demonstrate this technique across almost every design, varying in the application and materials used.
No.4
When one thinks about the art of weaving, it seems natural to correlate that to the idea of personal ties. You’ve mentioned before that your practice has “helped us grow spiritually and together as sisters.” Can you speak more to this?
The three framed diptychs in the exhibition (‘SEEK’, ‘CONSOLATION’ and ‘INWARD STATE’) were created as a means to process the dysfunction experienced during the peak of the COVID-19 lockdown in Sydney. During this time, both of us agreed to a self-imposed break after a busy exhibition period that left us tired and burnt out. This time apart allowed us to reassess our relationship as sisters and as business partners. Weaving on our individual Saori looms became an exercise and self-practice to heal and reflect during this division of isolation.
We love to think that the act of “crossing threads” creates both physical and emotional connections [for us], where the weavings themselves are a manifestation of our individual identities that bind us, creating synergy fueled by our complementary strengths and diverse perspectives. Over the last five years of Crossing Threads®, we have had to overcome some confronting truths as sisters. Our weaving practice gives us the impetus to continually evolve and learn from each other.
No.5
What do you hope to communicate through your practice?
Being part of the Holding Patterns exhibition came with the opportunity to share our own experience of dysfunction, as well as what happens when the structure of life is compromised. We hope that when people view our work, they will take away a sense of hope or even a moment of self-reflection, no matter how uncomfortable it might be. Often, there are sections of varying tension and release throughout our work, exhibiting distinct energies and flows of momentum. The act of weaving is healing: an opportunity to connect through our relationships with others but also with ourselves.
(Lauren Hernandez (L) and Kass Hernandez (R) of Crossing Threads®, installation view at 4A Centre for Contemporary Asian Art: Holding Patterns: Crossing Threads®; photo: Kai Wasikowski for 4A Centre for Contemporary Asian Art, courtesy the artists.)
Holding Patterns is a four-part solo exhibition series held at 4A Centre for Contemporary Asian Art from 9 July - 23 October 2020.
Based in Sydney, 4A is an independent not-for-profit organisation that fosters excellence and innovation in contemporary culture through the commissioning, presentation, documentation and research of contemporary art. 4A presents various programs throughout Australia and Asia to ensure that contemporary art plays a central role in understanding and developing the dynamic relationship between Australia and the wider Asian region.
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