My interdisciplinary practice draws parallels between the archival potential of textile objects and the memories emerging from audible materials. My interactive work reflects on textiles as cultural markers and the sonic cadence of work rhythms. Modulated by traditions, politics and environmental issues, fibrous materials and sound elements bring back memories and history.
My source materials are natural fibres such as linen, cotton, wool, and new media including electronics, sound and microcontrollers. I accentuate the tension between traditional methods and new technologies by introducing sonorous elements that are blurring the lines of time. Over the past few years, the weaving loom has become my main subject and its soundscape inspired reflections on feedback loops throughout history. The Loom is maintaining the rhythms of traditions and identities; it functions as a connector between generations and communities. My recent work is reflecting on ecological urgency in natural and digital ecosystems, thinking about the materialisation of the Anthropocene and the role of textiles in contemporary times.
Born in Switzerland, RythÂ Kesselring moved to Québec during her childhood. After she obtained her Baccalaureate in Fine Arts at Concordia University 2019, she is now a MFA candidate at the same institution with a specialization in fibres and material practices. She was part of studio subTela as research assistant and worked on soft circuits and embroideries for smart textiles. Her research focuses on sound, textiles and the rhythms of craftsmanship as imprints of the textile memories.
She is a recipient of several research grants and awards as the FRQSC scholarship and the Joseph-Armand-Bombardier scholarship. In response to the 2020 pandemic she joined a research team as MITACS intern to evaluate the potential of textile face masks. Kesselring is also active as a studio art teacher in elementary and high schools. Her work has been shown in Canada as well as in Switzerland, Spain, France and Iceland.