Tabea Dürr Textil Fine Art
schwedisch english deutsch Birds and their names Fish skin Walnuts Pattern-connected embroidery CV
härfågel
HEERVOGEL

Military Bird

18cm×39cm
linen, silk
embroidery, natural dyeing
(Gallium verum)
GELBSPÖTTER
gulhånare
Yellow Jester

19cm×37cm
linen, cotton
embroidery

(private collection)

WINTERGOLDHÄHNCHEN
vinterguldkycklingar
Golden Winter Chicklet

24cm x 26cm
linen, silk, cotton, metallic yarn,
embroidery, dyeing

(private collection)

Birds and their names

I grew up in a family with great interest in birds - especially migratory birds. (The latter was probably a consequence of a childhood in Eastern Germany.)
Before I could identify a certain bird by its shape I was often already familiar with its name. Those names evoked images in my young mind. Later I found out that those images very often differed from the actual appearance of the bird.

In Danish there is a word for translating intentionally wrong: undersættelse – in English this could be something like “dislation” (in contrast to translation).
My work initiates with bird names. The essential thing for me in that process is to keep to the image evoked by the name of the bird – instead of translating it correctly and at the same time loosing that image. Therefore, the title of my work normally contains expressions in two languages – a bird name and its “dislation”.

Connection between text and textile
I read about Mary Queen of Scots (1542 - 1587) using embroidered emblems¹ for sending coded messages. Those emblems reached their destination without being deciphered by the security service of Elisabeth I (1533 – 1603) - but with unsatisfactory results.²
Later I discovered one such emblem at the Victoria & Albert Museum and more in a book³.
What made a deeper impression on me, though, were her embroidered representations of birds and other animals. Those representations were shown at the same exhibition; they were based on Conrad Gesner4 copperplate engravings. As far as I know they are not classified as proper emblems. But in contrast to Gesner, Mary Queen of Scots used four different languages - English, Scottish, French and Latin – from which she chose the name she labeled to each of those birds or animals represented in her embroidery. From this I got the impression that she thus expressed some personal relationship either to that bird or to other beings connected to the animal. It is my personal hypothesis which I cannot prove that those animal pictures are sophisticated emblems.
Instead of trying to prove this hypothesis, I apply the method which I suspect Mary Queen of Scots used.

¹ The 1531 publication in Augsburg of the first emblem book, the Emblemata of the Italian lawyer Andrea Alciato launched a fascination with emblems that lasted two centuries and touched most countries of western Europe. "Emblem" in this sense refers to a didactic or moralizing combination of picture and text intended to draw the reader into a self-reflective examination of his or her own life. (Wikipedia)
² Rozsika Parker: “The Subversive stitch” – Embroidery and the making of the Feminine
³ Margaret Swain: “The Needlework of Mary Queen of Scots”
4 Conrad Gesner (1516 – 1565) was a Swiss naturalist and bibliographer. His five-volume Historiae animalium
(1551-1558) is considered the beginning of modern zoology. (Wikipedia)

GOLDREGENPFEIFER guldregnsvisslare
Gold Rain Piper

40cm x 44cm
linen, silk, gold thread
embroidery
GOLDAMMER, GELBAMMER
guldsparv, gulsparv
Golden Bunting, Yellow Bunting

49cm x 51cm
linen, silk, metallic thread
embroidery, natural dyeing
(Crocus sativus)

blå kärrhök
BLAUER SUMPFHABICHT

Blue Marshhawk
118cm x 125cm
linen
embroidery, Indigo dyeing
(private collection)

PERLHUHN
pärlhöna

Pearl Hen
64cm×106cm
linen, Organza, silk,
bead
embroidery

(private collection)

WENDEHALS
vändhals
Turn Neck

64cm×105cm
linen, silk
embroidery

(Röhss Museum)

UNGLÜCKSHÄHER olyckskråka
Unfortunate Jay
63cm x 105cm
linen, silk, tin wire,
metallic thread
embroidery

ROHRDOMMEL
rördrom
Reed-drummer

5.5cm/25cm × 70.5cm
linen, cotton
embroidery, printing

törnskata
DORNENELSTER

Thorn-shrike
linen, silk
embroidery, print, dyeing

(Nationalmuseum Stockholm)

kornknarr
KORNKNARRE
Barley-creak
(detail)
5cm/24cm × 71cm
linen
embroidery

blåmes
BLAUMEISE
Blue Titling

(detail)
44cm×73cm
linen, cotton, silk
embroidery, natural dye
(Juglans regia)

SAMTENTE
sammetsand
Velvety Duck

86cm x 89cm
linen, silk velvet, silk
embroidery, appliqué,
natural dyeing (Juglans regia)

(private collection)
BLAURACKE
blåråka
Blue Rook

64cm x 57cm
linen
embroidery, Indigo dyeing

KAMPFLÄUFER
kamplöpare

Battle Runner
(detail)
40cm×17cm
linen, cotton, silk
embroidery

purpurhøne
PURPURHUHN
Purple Hen

78cm x 80cm
linen/cotton, silk
embroidery, natural dyeing
(Nucella lapillus, Cochineal)

STERNTAUCHER stjärndykare
Star Diver
(detail)
44.5cm×71cm
Organza, cotton, mica
sewing

enkelbeckasin, dubbelbeckasin
BEKASSINE, DOPPELBEKASSINE
Double Snipe, Single Snipe
39cm×125cm
silk, cotton
weave
EISVOGEL
isfågel

Icy Bird
44cm/66cm × 45cm
silk, mica
embroidery, dye
KREUZSCHNÄBEL korsnäbbar
Crossbills

20.5cm x 96cm
linen, cotton
print, embroidery
lappsparv
FLICKENAMMER
Patch-bunting

49cm x 77cm
cotton, linen, wool
quilting, embroidery
DIAMANTFASAN diamantfasan
Diamond Pheasant

42cm x 128cm
linen, silver kantille
embroidery
sommargyllingar SOMMERVERGOLDENDE
Golden Oriole

56cm x 85cm
linen, cotton, silk
embroidery, natural dyeing (Crocus sativus)
 
svan
SCHWAN
Swan

40cm × 37cm
Organza, silk, mica
embroidery

SCHNEE-EULE
Snöuggla
Snowy Owl
(detail)
48cm×215cm
cotton, linen, Reflekta thread
weave, embroidery

   

 

 

K o n t a k t: tabeadu@gmail.com    > Impressum