Sprayed, emptied, thrown or shaken: In colour field painting, colour is applied onto the canvas in generous strokes, soaking deep into the fabric. It is no coincidence that this method, properly called “soak-stain technique”, is similar to the dying process for plain fabrics. Its effect—apart from the composition of the material—is mostly reduced to colour.
Following motif-free “pure painting”, you could call plain fabrics “pure textile art”. It may seem simple, but in detail it is, just like colour field painting, varied and profound. It all starts with the fact that a colour is more than just a colour, and this is true for textiles and for painting. For example, “Black Paintings” by Marcia Hafif do not show just any black but are an attempt by the artist of finding “the most beautiful black”. Olivier Mosset takes this even a step further: For the Swiss, who is one of the key representatives of monochrome painting, colour only exists in relation to one another. Karin Schwarzbek also asks the question of how colour behaves in the picture space. A native from the Swiss canton of Thurgau, she now lives and works in Zurich and sees colour always in motion.
Is this not the same with plain fabric? When you look at a piece of textile as a whole, it may seem calmly regular, but warp by warp and weft by weft it is anything but uniform. Depending on how the light falls, the finest, sometimes iridescent nuances become visible. And depending on their colours, textiles fulfil a different function in a room when interacting with architecture and furnishings—they can make a room calmer or more lively, have a warm or cool effect, or make a statement.
At Création Baumann it is particularly easy to discover variety in the unicoloured. The textile manufacturer from Langenthal, Switzerland, has a range of more than 300 plain fabrics in thousands of different hues, including the following ten textiles which have become true fabric classics since their launch. Each of these fabrics has unique properties—from material, feel and density to weight and surface texture.
Launched in 1978, this sheer curtain fabric is one of Création Baumann’s most popular products. Available in 89 colours.DISCOVER FABRIC
This dense, preciously shimmering curtain fabric was launched back in 1979 and also offers multiple usage scenarios as a furnishing fabric. Available in 68 colours.DISCOVER FABRIC
A linen curtain fabric from 1981, whose fine texture and subtle colours lend a certain je ne sais quoi to any room. Available in 42 colours.DISCOVER FABRIC
This easy-care cotton curtain fabric has been succeeding since 1985 in the most varied residential and public applications. Available in 112 colours.DISCOVER FABRIC
This classic for vertical blinds has been reliably shielding from disruptive noise and prying eyes since 1988. Available in 58 colours.DISCOVER FABRIC
Création Baumann’s most lightweight opaque curtain fabric was launched in 1992 as BALLOON and has been evolving ever since. Available in 36 colours.DISCOVER FABRIC
This classic 1998 furniture fabric comes in marl colours and also makes a good impression as a heavyweight curtain fabric. Available in 36 colours.DISCOVER FABRIC
Since 1998, this easy-care curtain fabric with a light sheen has been conjuring up simple elegance in any room. Available in 38 colours.DISCOVER FABRIC
A functional yet aesthetically-pleasing blackout fabric launched in 2002 and a pioneer in this field. Available in 66 colours.DISCOVER FABRIC
A lightweight sheer curtain fabric with a special look, which, although only launched in 2009, has already made it a classic. Available in 45 colours.DISCOVER FABRIC
Durable and yet soft to the touch: Création Baumann furniture fabrics unite the textile qualities – in classic to modern colours.
Marcia Hafif—Table of Pigments, 1991
Photo: Mark Mosman Courtesy of the artist and Fergus McCaffrey
Marcia Hafif is represented in Switzerland by the art gallery Mark Müller.
In cooperation with the Kunsthaus Baselland, the St. Gallen art museum is exhibiting central aspects of Marcia Hafif’s work until 14 January 2018.
Karin Schwarzbek—enamel lacquer, acrylic on undercoated cotton
Karin Schwarzbek is represented by the art gallery Bob Gysin.
Olivier Mosset—Carré Saint Vincent, Scène Nationale, 2006, Centre d’Arts contemporains, Orléans
Photo: VNH Gallery
Olivier Mosset—Ohne Titel, 2009 (Untitled)
On Designers’ Saturday, Langenthal transforms into Switzerland’s design capital for a weekend—with Création Baumann starring both as a host and an exhibitor.
Andrin Schweizer enters each new room as if it were his first. His great sensitivity for individual backgrounds and atmospheric potential gives rise to exceptional environments.