Cadence: a new masterpiece by Otobong Nkanga

Photo: Willeke Machielsen 

Four layers

The tight schedule was not the biggest challenge. During a presentation at the Threads of Innovation symposium, the artist and product developer shared how they collaborated on something neither of them was sure was even possible. “Otobong always wants something completely different from the last time,” says Miero. “It wasn’t just about making it 11 by 20 metres in size; it also needed much more depth. She wanted people to be able to see through it.” This led to the decision to split the black-and-white warp on the wide machine not into two but four layers. Combined with a vast colour palette of 234 colours per layer and a design that remained unfinished for much of the development process, they set themselves quite a challenge. “For me, it was the first time developing such a large tapestry in four layers,” says Miero. “I definitely lost some sleep over it.”

Foto: Jelle Verheijke 

Weaving by instinct

Aware of the risks, they took on the challenge anyway—partly because they had been working together for over ten years and had created so much in that time. They had come to understand each other’s way of thinking and working, knew what to expect from one another, and had built trust in each other’s approach. Over the years, they developed their own unique language to communicate about design and execution. Miero shows a series of hand-drawn and handwritten charts with colour indications for specific areas, where percentages have often been crossed out and adjusted. This is how Nkanga works: she doesn’t create finalised design sketches with predetermined shapes and colours. Their collaboration is a form of design research in which the piece evolves based on the samples they create. Nkanga describes a feeling and an image, Miero responds by producing samples, and Nkanga refines the design on her computer, adjusting it until it fully aligns with her vision.

Stone

Photographer: Emile Askey. Copyright: Digital Image © 2024 MoMA, N.Y.

Pushing Boundaries

Halfway through the process, they decided to add a grid of lines to give the design both visual structure and practical stability. They also incorporated a black and a transparent monofilament into the weft yarns, making the fabric stronger and easier to manipulate than the tapestries for Bregenz. Nkanga emphasises that her own artistic vision was not the sole driving force behind the work. “There was an entire team involved, each of whom influenced the outcome—Stef, the weavers, material expert Lise Brunt, and the people at MoMA. We also had to consider various practical requirements and constraints. At one point, I got a question from New York asking how heavy the tapestry was. I had no idea—there wasn’t a tapestry yet! But of course, weight is crucial for installation, which meant we couldn’t make it entirely out of wool.” Step by step, Cadence evolved into a masterpiece of the highest order. “Because Stef and I push each other to go beyond our limits, every tapestry I’ve made at the TextielLab has been a step forward in my development as an artist,” says Nkanga.

Sculpting with fabric

She works with textiles much like she creates her sculptures—almost as if she is sculpting with fabric. Once the three panels came off the wide loom, that sculptural approach became even more tangible. In the gymnasium of a nearby vocational school, rented specifically to lay out and inspect the textile, Nkanga physically manipulated the warp threads of the upper and second layers into meandering streams of water. She opened up the top layers of the weave to reveal the underlying ones, allowing glimpses of depth. This made the tapestry even more sculptural than her previous work—something she is more than happy with. “This project unlocked a new way of thinking—it has become more than just a tapestry. When it was finally hanging on the wall of MoMA’s atrium and the light hit it, I was surprised by it all over again.”

Photographer: Emile Askey. Copyright: Digital Image © 2024 MoMA, N.Y.

Destruction and Renewal

Text: Willemijn de Jonge