Rosie Eisor  presented by the gallery at:
Collectible Brussels from 13-16 March 2025

The first invited artist for our column was Rosie Eisor whom I got to know at the exhibition “Living Room”, curated by us at CU29 Gallery Plovdiv in 2022. Rosie is a true multidisciplinary artist as she works in various mediums such as zines and print work, textile art, ceramics etc. In a blitz interview we sneak peek into her recent tufted rugs work with animalistic iconography, done during her stay at Viafarini Studios, Milano.

Recently I see an increasing interest towards tufted rugs making, mainly from artists who work in other mediums, too. Why did you resort to this technique yourself? And why do you think it came to notoriety?

In my opinion, one of the main reasons the interest in tufted rugs has expanded is due to technological advancements and the increased accessibility of tufting machines and tools, which have made this technique widely available. I truly believe this field opens up a whole new universe of creative possibilities.

I view this phenomenon as a rising tide in contemporary art as well, where textiles, as a material and technique, are now increasingly garnering interest and popularity. Evidence of this trend can be seen in the growing number of artists as you mentioned, including myself, who are drawn to working in this field. The richness of opportunities offered for exploration and experimentation leads to intriguing results for the audience, too.

Do you consider your carpets an object of design or visual art? How important is the functional aspect of the artwork to you?

I primarily perceive my rugs as art objects, considering their unique designs and amount of time invested in their creation. That’s why I find it challenging to use them merely as floor coverings since textiles are more susceptible to wear and tear over time.
On the other side, I find integrating visual art into functional objects for everyday life both intriguing and appealing. It offers a charming blend of aesthetic pleasure and practicality, enriching our daily experiences with elements of creativity and beauty. Certain carpets, in particular, go beyond their functional purpose and transform into captivating works of visual art, infusing an extra layer of depth and profound meaning into their existence.

You have a very strong visual language in your graphic design and zine works, often you use various symbols, what inspired you for the last piece? Why the pig?

The “Wild Swine” is an artistic interpretation of the “scrofa semilanuta”, an ancient emblem of Milan, with strong associations with a legendary tale about the city's foundation. According to the legend, prince Belloveso founded Milan following a dream where a goddess revealed its location. The presence of the sow in the dream held profound cultural and religious significance, symbolizing abundance, fertility, and prosperity for the land. This rug is part of a series of works created during my residency at VIAFARINI in Milan, depicting mythological animalistic symbols closely linked to the city.

Do you think people acknowledge your rugs as wall decoration?

Some individuals may perceive them this way. I have observed how historical art labeling and traditional gender roles have contributed to biases in the perception of art forms like ceramics or textiles. These crafts were often associated with women’s practice and viewed as decorative. Due to these societal perceptions and gender biases, I’m reluctant to label my creations merely as wall decorations. I believe that my rugs hold artistic value and should be appreciated beyond their functional or decorative use, breaking free from outdated gender prejudices.

How long does it take to produce a piece?

It depends, but in general, if I already have a vision of the carpet, and let’s say it is one square meter in size, working with a tufting gun will require nearly a full working day with minimal breaks. Afterward, I would need another day or two for adding details and possibly hand-sewing. Additionally, it would take one more day to finish tasks like fixing the back with glue and backcloth, with some extra time for trimming. Altogether, I estimate that I would need approximately 5 days to complete the work.

How did the Italian public react to your work? Is contemporary carpet making of interest to them?

I won't talk about my artworks, but the evident curiosity about this technique is striking as the audience enjoys the diverse spectrum of colors, textures, and forms it offers. Like many others, including myself, they are interested in anthropological and historical contexts, seeking to understand the origins of textiles and their cultural and symbolic significance. Fiber art is gaining increasing recognition for its immense potential and artistic value.
I was truly impressed to witness how contemporary exhibitions, museums, and collections have embraced textiles as valuable artistic expressions. Notable examples include rugs displayed at the Massimo Minini Gallery in Brescia, textile pieces in Umberta Gnutti Beretta's art collection, a magnificent rug on display in the foyer of the Triennale - Museum Of Design in Milan, and Alighiero Boetti's carpets in the permanent collection at the Castello of Rivoli.

You have collaborated with a poet for the creation of your rugs?If you were to design a welcome carpet for 3 world leaders, what would be the message to each one of them? And who will they be?

I'm not a fan of world leaders and politicians in general, but I would use a piece by David Shrigley that exactly describes my feelings, and it says: "Politicians Make Me Sick." The word "SICK" could be replaced with shit, puke, cry, die, but it doesn't come across as very diplomatic and welcoming.