Tina Marais: Capturing time with texture

A close up of a cream-coloured textured fabric artwork.

The artworks of Tina Marais are the kind that make you stop and stare. It’s clear that deep consideration has been given to the creation of every piece.

Tina is a visual and textile artist who thinks about the entanglements of materiality, ecological structures and the memories of places and things.

She creates three-dimensional, tactile sculptures using a wide range of textiles, thread and stitch. And she loves to incorporate found objects from thrift stores and markets to add extra texture and intrigue to her assemblages.

Tina’s work is about capturing the passage of time through texture – a blend of metamorphosis and sensuality, resulting in new forms inspired by the living, mineral and alchemical realms.

Take a look and see what you discover in the twists, folds and contortions of her cloth.

A red artwork of a cell mutation hanging in space.
Tina Marais, Cellular Mutations VI, 2021. Each: 60cm x 30cm x 30cm (24″ x 12″ x 12″). Machine stitch, hand stitch, soft sculpture. Leather, velvet.
A black and red stitched sculpture hanging in space.
Tina Marais, Cellular Mutations VII, 2021. Each: 60cm x 30cm x 18cm (24″ x 12″ x 7″). Machine stitch, hand stitch, soft sculpture. Leather, velvet, beads.

Tactile relationships

What is your artistic approach? Can you summarise what inspires you?

Tina Marais: The central focus of my practice is creating visual and textile art that emphasises the tactile relationship between materials. My work intertwines memories and experiences, capturing the passage of time through texture.

I gather and transform fabrics, objects and natural elements to delve into themes of history, life and transformation. My practice blends physical craftsmanship with sensuality, resulting in new forms inspired by the living, mineral and alchemical realms.

I’m particularly intrigued by folds – whether in philosophy, time, skin, or material – and how they can both conceal and reveal, protect and illuminate. Recently, I’ve been exploring innovative material approaches that investigate the entanglements between organic and inorganic elements, as well as human and non-human systems.

Through my art, I critique patterns of consumption and explore themes such as isolation and metamorphosis, while also highlighting the connections between people and ecosystems.

A corn coloured textured stitched sculpture on a white background.
Tina Marais, Bounded Traces VI, 2022. 30cm x 30cm x 20cm (12″ x 12″ x 8″). Hand stitch, embroidery, beading. Nettle fabric (‘orties’ in French), stone beads, embroidery thread.
A close up of a fabric artwork.
Tina Marais, Bounded Traces V, 2022. 30cm x 30cm x 20cm (12″ x 12″ x 8″). Hand stitch, embroidery, beading. Nettle fabric, stone beads, embroidery thread.

Material reflections

What made you decide to work with sculptural textiles?

My early experience as a costume designer deeply influenced my preference for dimensional structures in my work. From a young age, I was captivated by contemporary sculpture, particularly large-scale pieces.

This dimensionality resonates with the natural world, which is inherently layered and complex. The earth itself is built of layers, and everything around us consists of dimensional cellular structures. Even human nature and abstract systems are complex structures.

These reflections have transformed my approach to creating, making physicality and dimensionality central to my process.

“I find that work truly comes alive – charged with emotion and content – when it occupies space in three dimensions.“

Tina Marais, Textile artist

I always begin with a concept or message in my work, which guides my choice of materials. For instance, cotton is not only connected to water usage in its production but also to its journey from plant fibres to thread, fabric and beyond – often travelling across the globe multiple times.

Historically, cotton is also linked to the legacy of the slave trade. In contrast, I’ve recently worked extensively with linen, a material with a rich history dating back to ancient Egypt. Linen’s more eco-friendly production and natural antibacterial properties resonate with themes of healing for me.

Understanding the ‘voice’ of materials and their histories informs my choices and enhances my creative process.

A black sculpture of an abstract cell mutation.
Tina Marais, Cellular Mutations IV, 2021. Each: 76cm x 63cm x 25cm (30″ x 25″ x 10″). Machine stitch, hand stitch. Leather, velvet.
A collection of abstract stitched sculptures arranged on a white wall.
Tina Marais, Le Petit Mort (relics), 2022. 1.8m x 92cm (6′ x 4′). Hand stitch, embroidery, soft sculpture, hand-stitched surface texture techniques. Hemp, ceramic, linen, embroidery thread, wood, stone.

Organic seedlings

Tell us a little about the artwork you created for your Stitch Club workshop…

Yes, I’m excited that I was invited to present a workshop to Stitch Club members. In my workshop, I guide participants through the process of creating dimensional soft sculptures using textiles, thread and basic embroidery stitches. The sculptures, entitled Organic Seedlings, are inspired by the intricate details of seeds, grains and flower stems.

I have a deep passion for crafting these structures using a diverse range of materials, from precious silks and leathers to wool threads, rope and embroidery floss. I always incorporate beadwork and found objects to enhance the dimensionality and detail of the sculptures.

Being a somewhat ruthless collector, I love going on archaeological ‘digs’ in thrift stores and markets, or in my own studio’s inventory, often including unlikely materials to complete my assemblages.

Additionally, I demonstrate a basic technique for drafting patterns in an organic manner, which will help participants understand the potential for creating dimensional textile structures.

Tina Marais in her studio in Lyon, France.
Tina Marais in her studio in Lyon, France.
A red stitched scuplture of an abstract cell mutation hanging from a chain.
Tina Marais, Cellular Mutations VIII, 2021. Each: 61cm x 30cm x 18cm (24″ x 12″ x 7″). Machine stitch, hand stitch, soft sculpture. Leather, velvet, beads.

Organic & interactive

Can you tell us a little about your making process and techniques?

I begin each project with a core concept – whether it’s an idea, a question, or a message – and then immerse myself in research and sketching, often producing numerous sketches. I use line drawings to explore and clarify my vision, particularly how I want the piece to interact with positive and negative space.

Once I have a clear direction, I gather materials, carefully considering their origins and how their unique histories will contribute to my concept.

“The making process itself is often akin to a physical dance.”

Tina Marais, Textile artist

Making involves a dialogue with the materials, responding to what they allow and coaxing them into alignment with my intentions. This process is highly organic and interactive.

When working on pieces with repetitive elements, I frequently find myself thinking about future projects, leading to overlapping ideas and themes in my studio.

I enjoy delving deeply into bodies of work, exploring a particular theme or research angle over several years before transitioning to new explorations.

A group of stitched sculptures on a white wall
Tina Marais, Unfolding, 2022. 2.5m x 3.7m x 55cm (8′ x 12′ x 2′). Machine stitch, hand stitch, embroidery, beadwork. Hemp, French Linen, embroidery thread, ceramic beads.

Essential tools

What are your must-have tools or supplies when you’re creating and where do you source them?

I look for good scissors and good thread – and needles that don’t break under stress. When selecting scissors, I prioritise how they feel in my hand rather than the brand or model. I consider factors like the length of the blades and how smoothly they cut through fabric.

My all-time favourite was a pair of super sharp tailor scissors I purchased in Portugal. Unfortunately, they ended up in the trash at the airport security after teaching a course in Poland. At the moment I’m using Fiskars professional scissors.

For heavy-duty tasks, I rely on a robust sewing machine, the Singer heavy duty denim 6335M. I’ve had Bernina machines in the past and absolutely love them, but have ‘killed’ a few sewing machines over the years.

As I don’t do machine embroidery, I prefer sewing machines that can handle various thicknesses and that are mechanical instead of digitally controlled. The Singer gives me a good alternative to an industrial sewing machine and is heavy enough not to ‘bounce’ when I’m really getting into sewing.

For machine sewing I always use SCHMETZ needles: I prefer universal needles, but change depending on what I’m sewing. For hand stitching, I go for larger and longer needles, upholstery or doll needles, and I source my needles from Loops & Threads (from Michaels stores, USA and Canada).

When it comes to thread, I prefer Gütermann because its high quality significantly improves the results and saves time.

I’ve adapted to using thicker needles and threads due to some medical treatments that have affected my fingertips. Instead of fighting this, I’ve adjusted my tools to suit my needs.

My suppliers vary depending on my location, as I move around frequently. In Montreal, for example, there’s Ugarit La Maison de l’Artisanat – a fantastic hidden store for bulk beads. I visit haberdashery stores, art supply shops and hardware stores, always on the lookout for objects that can be reinvented or repurposed.

I also enjoy working with found objects and vintage fabrics, often sourcing materials from second-hand stores (known as ‘fripperies’ in France and Quebec), street markets and even during long walks where I collect seeds and pebbles.

A sculpture of a piece of cloth on a wood board hanging in space.
Tina Marais, Sleep In The Bed That You Made II, 2022. 1.2m x 2.3m x 50cm (4′ x 7½’ x 20″). Folding, hand stitch, machine stitch. Portuguese linen.

Tempted by tactility

How did you develop your artistic skills?

My passion for the arts, fibres and materials began at a very young age. I was born in 1977 and raised around Cape Town, South Africa. The diverse landscapes and cultures there profoundly shaped my connection to the natural environment and my artistic vision.

I studied fine arts and visual communication at the Open Window Art Institute near Johannesburg in South Africa, focusing on painting, sculpture, drawing and printmaking.

During this time I also took courses in pattern making. Initially, I didn’t view my textile work as part of my fine arts practice, but I eventually transitioned into costume making and design for theatre and dance.

In 2008, I migrated to Canada. By 2011 I’d settled in the Montreal region of Quebec. This significant transition expanded my arts practice and artistic perspective, allowing me to create over 80 community-based, social outreach, cultural mediation and public art projects over a decade.

During this time I shifted my focus to textile and fibre arts, which greatly broadened my scope for conceptual exploration, scale and installation. The fluidity and tactile nature of textiles felt like a natural extension of my artistic ideas.

In 2022, this led me to pursue a master’s degree in Fibres and Material Practices at Concordia University in Montreal, where I focused on critical thinking and research creation in art making.

“I believe that developing artistic skills comes from persistent practice and a curiosity to make the impossible possible.”

Tina Marais, Textile artist
Tina Marais in her studio in Montreal, Quebec. Sitting on a table and smiling at the camera.
Tina Marais in her studio in Montreal, Quebec.

Collaborative enrichment

I’ve been fortunate to have an incredible network of friends and an artistic community to exchange ideas with. Having extraordinary women, friends and artists around helped to shape my journey.

While solitary studio time is essential, collaborating with others and engaging in community discussions greatly enriches my work.

My parents, in their own distinct ways, provided me with access to a wide range of cultural activities, including music and art, which were integral to my upbringing. My son, Garrett Struthers, has been a constant source of inspiration, support and valuable critique throughout my studio practice.

My partner, Marc Villarubias, offers unique challenges to my artistic ideas and critical approach, especially in aligning ecological issues with cultural understanding. His support has been invaluable in grounding abstract concepts into concrete research and creative thinking.

I previously had a large studio space in downtown Montreal but have since transitioned to a home studio. I prefer working unconventional hours, often late at night and find that the intimacy of a home studio better suits my creative process.

Being immersed in a more personal space allows me to fully engage with my work. When travelling, I usually have some hand sewing or simple preparation of multiple elements with me; it becomes a mutative process while in transit.

An artwork of a piece of fabric with holes and mingled threads and colours.
Tina Marais, Untamed (detail), 2017. 2.25m x 3m x 4cm (7½’ x 10′ x 2″). Machine stitch, hand stitch, textile layering, surface texture, shredding, de-stressing, embroidery. Reclaimed denim, velvet, embroidery thread.
a piece of fabric with different colors
Tina Marais, Untamed (installation view), 2017. 2.25m x 3m x 4cm (7½’ x 10′ x 2″). Machine stitch, hand stitch, textile layering, surface texture, shredding, de-stressing, embroidery. Reclaimed denim, velvet, embroidery thread.

Water & cloth

Which piece of your textile art is your favourite, and why?

It’s very hard to just highlight one work. Often I am my own worst critic, and every artwork lays the foundation for the next piece. There’s a constant push and pull between connection and realisation, technique and material.

As an artist, I think we’re in a constant pursuit of excellence that’s unachievable, and this is the place where the magic happens.

The artwork Untamed, which I created for a solo exhibition in 2017, still really stands out for me. It’s a large-scale artwork created in recycled denim, the first work that went on to become the flux de l’or bleu series. It’s an artwork with layered denim, machine and hand stitched, and detailed with silk embroidery thread.

“The work Untamed reflects on the fragility of water and the impact of the cotton denim industry on water supplies.”

Tina Marais, Textile artist

I’m visualising water as a wounded body bearing the weight of consumerist culture, slowly suffocated, drained by pollution and chemically damaged by micro-fibres and plastics.

The character of water is not a single thing but has multiple manifestations. I’m fascinated by the physicality of water: its weight, the fluidity of water as a structure, the force of a wave as it’s propelled to the shore or broken against rocks.

I’m thinking of water as fluid bodies, holding stories in its depths. Water is a life force, containing millions of microorganisms, a breathing, living entity that’s in a constant state of change.

I’m curious about how to depict this entangled state of water with fibre and all its pathways.

I often reflect on the cloth of the garments that we wear, metaphorically unravelling it back to threads and fibres. I imagine the fragmented traces of the production process of textile, imprinted in its transformative story.

I’m reflecting on the relationship between water and the effects of cloth production on ecosystems and structural systems. I’m exploring how these relationships weave together in trajectories across bodies of water and the constant intercontinental flow of materials used to fabricate suitable second skins for our bodies.

A sculpture of a blue fabric on a metal rack
Tina Marais, The Flow of Micro-Plastics, 2021. 1m x 61cm x 61cm (3½’ x 2′ x 2′). Hand stitch, hand binding. Hand dyed Lycra, spandex, reclaimed buttons, bottle caps.

Pistachios & tea bags

Another series of works that were particularly challenging in concept structure and material choices was the body of work created for my thesis exhibition at Concordia University titled Unfold, My Skin, in 2022. These works included Unfolding, Le Petit Mort, Picalaire II, Unfold Me, Undercurrents and Bounded Traces V and Bounded Traces VI.

They were created using a variety of carefully selected materials, combining ceramic, wood, reclaimed linen, embroidery and – even for some works – collected pistachio shells and tea bags. It spoke of new materialism, the body, and the pathways of material connection and accumulation.

I enjoyed the challenge of the combination of research, conception and installation. The individual pieces that made up this series were either sold to private collectors or have travelled for other exhibitions in Canada, France, China, Belgium, Lithuania and Australia. I was so thrilled that one work was included in the Fiber Art Now Excellence in Fibres exhibition.

A close up of a textile sculpture in a sandy colour and embellished with folds and beads.
Tina Marais, Unfold Me, 2023. Each: 1m x 63cm x 5cm (3½’ x 2′ x 2″). Machine stitch, hand stitch, layering. Linen, rope, beads.

Textures & objects

How has your work developed over time?

Over time, my work has evolved significantly, driven by my ongoing exploration and deeper understanding of textile art.

Initially, I focused on traditional textiles, but I soon began experimenting with vintage fabrics, found objects and unconventional materials. This experimentation has allowed me to develop unique textures and forms in my art.

One of the hallmarks of my practice has been the integration of found objects. By incorporating items like seeds, pebbles and other non-traditional materials, I add layers of meaning and texture to my pieces. This approach reflects my deepening engagement with the materiality and context of my work.

As my practice has matured, I’ve placed greater emphasis on the tactile and sensory aspects of textile art. My pieces now explore the physical and emotional responses elicited through touch and texture, which has led to a more nuanced understanding of how viewers interact with my work.

A collection of stitched sculptures on a white wall
Tina Marais, Molecular Entanglement, 2021. 3m x 2m (10′ x 7′). Hand stitch, hand binding. Rope, reclaimed denim, embroidery thread, canvas mount, knitting needles.

And what direction do you think your work will take in the future?

Looking ahead, I see several exciting directions for my art. I’m committed to exploring and incorporating more eco-friendly and ethically sourced materials, which could involve further innovation with recycled and upcycled textiles.

I’m interested in merging textile art with other mediums or art forms. Collaborations with digital artists, architects or designers could lead to new and exciting hybrid works that push the boundaries of textile art.

I may expand my work into larger-scale installations or public art projects, which would allow me to engage with broader audiences and explore new dimensions of my art.

Integrating technology with traditional textile practices is another area I’m excited about. Experimenting with digital embroidery, smart textiles or other innovative approaches could blend the tactile nature of textiles with technological advancements.

And finally, I plan to continue exploring storytelling through textiles, finding new ways to convey complex themes and personal histories through my art.

“My goal is to keep evolving and deepening my engagement with materials, techniques and concepts.”

Tina Marais, Textile artist
An artwork of a white fabric embellished with beige stitches and beads.
Tina Marais, Undercurrents, 2022. 2.25m x 3m x 4cm (7½’ x 10′ x 2″). Machine stitch, hand stitch, embroidery, hand-filled tea bags. Tea bags, pistachio shells, embroidery thread, cotton backing.

Experiment freely

What advice would you give to an aspiring textile artist – and in particular if they wanted to use your kind of materials and techniques?

If you’re interested in working with materials and techniques similar to mine, my advice would be to embrace experimentation and allow yourself the freedom to explore. The essence of textile art lies in its tactile nature, so don’t be afraid to play with textures, colours and forms.

One crucial piece of advice is to develop a deep understanding of the materials you work with.

Whether you’re using vintage fabrics, found objects or traditional textiles, get to know their properties and how they interact with different techniques. This will give you greater control and inspire innovative approaches. For instance, I often use materials in unconventional ways, which requires a thorough knowledge of their strengths and limitations.

Another important aspect is to build a diverse toolkit. Invest in quality tools that feel right in your hand and adapt them to suit your needs, just as I do with my selection of scissors, needles and threads. Your tools can significantly impact your creative process and final outcome, so find out what works best for you.

Networking and building relationships with other artists and suppliers can also be incredibly beneficial. I’ve found that engaging with a community of artists and visiting unique sources, like second-hand stores or street markets, has been invaluable in discovering new materials and inspirations.

Sharing experiences and resources, as well as collaborating with others, can provide new perspectives and opportunities.

Finally, be patient and persistent. Artistic growth comes from consistent practice and learning from both successes and failures. Celebrate your progress and stay curious about the world around you, as inspiration often comes from the most unexpected places.

These elements have greatly helped me move forward in my work, enabling me to refine my techniques and expand my creative boundaries. By staying engaged with your materials, your community and your own evolving process, you’ll be well on your way to creating meaningful and impactful textile art.

Tina Marais in her studio in Montreal, Quebec.
Tina Marais in her studio in Montreal, Quebec.

Key takeaways

Tina gives deep consideration to her artworks. Take a few of her ideas to find a novel approach to your own work.

  1. Embrace experimentation and allow yourself the freedom to explore. Don’t be afraid to play with textures, colours and different forms.
  2. Use materials in unconventional ways – becoming familiar with their properties and how they interact with different techniques will give you greater control and inspire innovative approaches.
  3. Invest in tools that feel right when you hold them – good quality tools will reward you with long service.
  4. Building relationships with other artists and suppliers will enable you to share experiences and resources, or take part in collaborations.
  5. Be patient and persistent, and learn from your successes and failures. Stay curious, as inspiration often comes from the most unexpected places

Tina Marais is a Canadian artist and educator living in Lyon, France. 

Her work has been exhibited nationally and internationally in solo and group exhibitions, including theInternational Triennial of Textiles, Poland; Contextile, Poland; and the World Textile Art Biennale, Miami, USA. Her work has been included in public and private collections.

Tina has received multiple awards and grants from the Canada Council for the Arts and Conseil des Arts et Lettres du Québec.

Artist website:
Instagram:

Ewa Cieniak is another artist who uses textile art to explore the global themes of climate change and sustainability. And if you’d like more tips on choosing your optimum equipment, read Choosing embroidery & fabric scissors.

Photos of Undercurrents, Unfolding, Bounded Traces VI, Bounded Traces V, Le Petit Mort (relics), Molecular Entanglement, The Flow of Micro-Plastics by Paul Litherland, Studio Lux Montreal. Photos of Unfold Me, Picalaire II, Cellular Mutations IV, Cellular Mutations VI, Cellular Mutations VII, Cellular Mutations VIII, Untamed by Josiane Farand, L’Art de Capter. Photo of Sleep In The Bed That You Made by Contextile 2022. Photos of Tina Marais in her studio in Montreal, Quebec by Miriam Frenette.

Related stories

Comments

Which aspect of Tina Marais’ work did you enjoy the most? We’d love to know, so do leave a comment.

Leave a reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.