Tapestry, a contemporary common thread

“George” by Françoise Pétrovitch © Cité internationale de la tapisserie, Zoé Forget

The French Touch: How can we explain this resurgence of tapestry?

Alice Bernadac: “Textile art has experienced a significant resurgence in the contemporary art world over the past fifteen years. Aubusson has thus emerged from a long period of decline, between the 1980s and 2010s, linked to economic difficulties and a growing distance between artists and tapestry weavers. From the 2010s onwards, the return of artists to hand techniques, gesture, and the extended timeframe of the craft revived interest in tapestry. In Aubusson, this momentum has been accompanied by increased public support and a genuine revival of the sector, driven in particular by the creation of the International Tapestry Center by the Nouvelle-Aquitaine Region, the Creuse Department, and the Creuse Grand Sud Community of Municipalities.”

"Ashitaka soothes his demonic wound"
Taken from Princess Mononoke by Hayao Miyazaki
© International Tapestry City, Studio Nicolas Roger

FT: So what exactly has changed in the way artists, institutions, and audiences see things?

AB: “We have witnessed a true revitalization of the image of tapestry. For a long time, it suffered from a perception considered outdated: for the general public, it primarily evoked the 17th century, works with colors faded by time, subjects far removed from our current concerns, sometimes inspired by stories that are now rarely read. It was associated with heritage decoration, intended for the walls of castles, and perceived as a static medium. This view has profoundly changed with a paradigm shift. From the beginning of the 21st century, ambitious contemporary projects have been undertaken both by the Cité Internationale de la Tapisserie (International Tapestry Center) and by public institutions such as the Centre National des Arts Plastiques (National Center for Visual Arts), through major commissions, notably to Gérard Garouste, Françoise Quardon, and Roman Opalka for Tulle Cathedral. At the same time, certain local manufacturers, such as the Ateliers Pinton, have pursued a strong policy of contemporary creation since the 1960s.” At the Cité, this dynamic is fully aligned with our mission, with high-profile projects aimed at the general public: "Aubusson Weaves Tolkien" or "The Imagination of Hayao Miyazaki," as well as a major Contemporary Collection. These initiatives have had a considerable impact on the perception of the medium and have helped to put tapestry back in the spotlight, including among artists.

“Halls of Manwë – Taniquetil”
Based on the original work by J.R.R. Tolkien
© International Tapestry City, Studio Nicolas Roger

FT: How is France positioning itself in this resurgence?

AB: "It remains the world's leading center for the production of hand-woven tapestries, thanks to the national workshops of Gobelins and Beauvais and to historical centers like Aubusson, which has never ceased its activity and concentrates all the know-how, from spinning to weaving. This central role is also explained by the historical influence of French tapestry weavers, who contributed to the creation of other centers internationally. Even today, France remains the leading producer of traditional, non-mechanized tapestries, which also explains the particular attention paid to this heritage."

FT: Is this return simply a revival of an old medium, or a sign of a deeper shift?

AB: “This is not simply a revival. Contemporary artists are now posing unprecedented questions to tapestry, which are permanently transforming its uses and forms. What is being built at the beginning of the 21st century already constitutes a legacy: a set of experiments and shifts that will be permanently inscribed in the history of tapestry.”

FT: What does tapestry allow today that other artistic mediums no longer allow, or no longer allow as well?

AB: “Tapestry first and foremost offers a unique dialogue with the craftsman. As practiced in Aubusson, it is a collaborative work: the artist does not need to master textile techniques; they enter into a close exchange with the weaver, who guides and interprets their project. This is often one of the most appealing aspects for artists. It also allows for the reintroduction of a longer timeframe into the creative process—time for production, reflection, and dialogue.”

FT: Is this extended timeframe precisely what makes it desirable in the age of digital immediacy?

AB: “Yes, absolutely. Tapestry is appealing because of the long timeframe and the collaboration it requires. Even though weaving is relatively quick in Aubusson (about one square meter per month for an experienced weaver), there is an unavoidable preparation period, often invisible, but essential. It's a time for exchange, sampling, and reflection on textile interpretation, which often surprises the artists, always in a positive way. This time allows for building a close relationship with the workshop and developing a shared language even before weaving begins. We see this, for example, in the ongoing project with the visual artist Raphaël Barontini, exhibited last year at the Palais de Tokyo. His textile practice fostered a very precise dialogue, based on historical references, which then structure the weavers' work.”

“Blue” by Marie Sirgue
© International Tapestry City, Studio Nicolas Roger

FT: If we take a global view, which periods, styles or techniques most inspire contemporary artists?

AB: “There isn’t really a dominant period or style: it varies greatly from artist to artist. What recurs strongly, however, is the discovery of the extraordinary richness of the possibilities it offers. Many arrive imagining a constrained medium and are surprised by its formal freedom. What often fascinates them is tapestry’s ability to disrupt the viewer’s perception, to produce striking trompe-l’œil effects. We see this, for example, with “Blue,” a tapestry by Marie Sirgue, woven from a photograph of a construction tarp. From a distance, the illusion is perfect: you think you’re seeing a simple tarp hanging from the ceiling. It’s only upon closer inspection that the textile nature of the work is revealed, creating a powerful sense of surprise, especially since it’s made with a thick, textured weave. The artists are also drawn to the manipulation of textures and the mixing of materials.” Tapestry is not limited to wool, even though it has historically been the dominant material: linen, silk, metallic threads, viscose, lurex… can be combined with it.

FT: What gives tapestry its expressive power today?

AB: “Tapestry conveys messages primarily through its monumental scale and its close connection to architecture. It occupies space, surprises the eye, and imposes a strong physical presence: faced with a work measuring several square meters, the viewer feels physically small, drawn in by the image. It also unfolds over time, through its mode of production and its history. Despite the fragility of the textile, tapestry has survived the centuries thanks to constant attention paid to its preservation and transmission, which gives it a powerful symbolic charge. Finally, tapestry retains an element of mystery for the public. The techniques, the role of the weavers, and the manufacturing process remain largely unknown, creating a distance and a kind of fascination. This combination of monumentality, duration, and hidden expertise gives it a unique symbolic power, particularly effective in conveying narratives and messages.”

“Red Abakan” by Magdalena Abakanowicz
© Magdalena Abakanowicz

FT: How does the appearance of tapestries in the format of sculptures mark a break or an evolution?

AB: "Tapestry has long been associated with walls and flat surfaces, even though it has always maintained a connection with volume, particularly through upholstery and door hangings. Its fully sculptural shift appeared primarily in the second half of the 20th century, when artists began to work directly with textiles in three dimensions and to hybridize techniques. These were overwhelmingly women, such as the American Sheila Hicks, the Polish artist Magdalena Abakanowicz (pictured above), and the French artist Simone Pheulpin. They did not always practice tapestry in the traditional sense, but radically altered its uses. In Europe, this shift was crystallized by the first Lausanne Biennale in 1962, which marked a confrontation between classical wall tapestries, particularly those from Aubusson, and three-dimensional works, often created by the artists themselves. This moment is known as the 'Lausanne controversy,' revealing two opposing visions of textiles." The artist Jean Lurçat took a highly critical stance, famously declaring, "Beware of little girls who knit." However, this did not succeed in halting the movement, which gradually established itself under the name "fiber art." In Aubusson, this evolution was initially difficult to integrate, but some workshops, such as that of Camille Legouaix, embraced this "new tapestry" movement, maintaining the principle of collaboration with tapestry weavers, notably through figures like Thomas Gleb, Huguette Arthur Bertrand, and Pierre Daquin, while simultaneously liberating tapestry from the wall and opening it up to three-dimensionality.

(Editor's note: Sheila Hicks' exhibition, "The Traveling Thread," is on display at the Quai Branly Museum until March 8, and Magdalena Abakanowicz's exhibition, "The Weave of Existence," is on display at the Bourdelle Museum until April 12.)

FT: How can we characterize the evolution of the relationship between artists and tapestry weavers?

AB: “The relationship between artists and tapestry weavers has evolved considerably. In the 20th century, the tapestry weaver was often seen as a worker within large, highly hierarchical factories. Today, the landscape is dominated by small workshops, which fosters more direct and flexible relationships. Above all, the tapestry weaver is now recognized as an interpreter and a co-creator. We have moved from a vertical relationship and a logic of simple transposition to a genuine dialogue. As in music, two weavers weaving the same piece will produce different results: the hand, the choices, and the sensitivity of the tapestry weaver have become central to contemporary creation.”

FT: How can we explain that contemporary tapestry now attracts artists from such diverse disciplines as cinema, photography, and visual arts?

AB: “This diversity stems from the very nature of tapestry. The artist-weaver relationship allows creators to work with textiles without mastering the techniques. This framework demystifies the medium and makes it accessible. Each person then comes to it for different reasons: the relationship to the image, to the material, or to time… But it is this close dialogue with the weavers that makes this great diversity of contemporary practices possible.”

“Cuban Linx” by Amélie Bertrand © Cité internationale de la tapisserie, Studio Nicolas Roger

FT: Which artistic encounter struck you as the most unique?

AB: “Each project is unique, but one of the most memorable was the collaboration with Amélie Bertrand. Her pictorial work relies on a very precise mastery of color and extremely smooth, almost icy surfaces, which presented a real challenge for tapestry. For “Cuban Linx,” woven by the Guillot Aubusson tapestry workshop, we didn’t have a printed model: the image provided by the artist was purely digital and couldn’t be faithfully reproduced on paper. The work was therefore done using an iPad screen, on which the color had been precisely calibrated with the weavers. The transition from screen color to the materiality of wool made the process particularly unique. At the time, the method was disconcerting, but the final result proved to be very accurate and highly successful.”

FT: When artists push the boundaries of practice, what new languages and grammars emerge?

AB “That’s the whole point of the dialogue with contemporary artists. They pose unprecedented questions to textiles, forcing tapestry weavers to explore new solutions. This can involve reactivating ancient techniques used differently, or inventing entirely new answers, often developed collectively, drawing also on the memories of the most experienced weavers. Through experimentation, a new language emerges. Each challenge expands the grammar of tapestry. A striking example is the tapestry “George” by Françoise Pétrovitch, which required the exceptional creation of a 29-meter warp, the result of several months of dialogue and experimentation.”

FT: What do you think the future holds for tapestry?

AB: “The future of tapestry seems to me decidedly multifaceted. It lies both in the exploration of volume and object, as with 'The Bath' by Christophe Marchalot and Félicia Fortuna, which applies tapestry to an unexpected and technically complex form, and in a renewed dialogue with contemporary imagery. Works like 'Ghost_Horseman_Of_The_Apocalypse_in_Cairo_Egypt.jpg' by Clément Cogitore show how tapestry can engage with digital images, playing with the illusion of the screen while reaffirming the materiality of the textile. It is in this tension between volume, image, and matter that, in my opinion, the future of the medium is taking shape.”

Exhibition and extension: Aubusson celebrates its 10th anniversary!

For its 10th anniversary, the International Tapestry Center in Aubusson is thinking big: 2026 marks a turning point with the opening of a major 1,600 m² museum extension, designed to accommodate up to 1,000 visitors per day in the summer. Designed by the Projectiles agency, this new architecture, a contemporary "monolith" connected to the Tapestry Nave, will finally allow for the display of very large-format pieces. The event opens with the inaugural exhibition "Aubusson Tapestry in the 21st Century" (until March 12, 2026), a manifesto on the vitality of a six-century-old craft, inscribed on UNESCO's list, and yet undergoing a complete reinvention. Around 60 works illustrate the close dialogue between artists and weavers, the challenges of texture and color, the experiments in volume, and tapestry as a "visual disruptor" that questions our way of seeing.