Many of us, when faced with a ripped blanket or a scuffed pair of sneakers, wouldn’t think twice about pitching them into the trash — no matter how functional they still are — in order to get something new. This is the kind of wastefulness that the “Perpetual Motion” exhibit at the Textile Museum of Canada attempts to discourage. By showcasing old textiles stitched together to create lavish tapestries, intricate bedspreads, and colourful quilts, “Perpetual Motion” opens visitors’ eyes to a different and, in fact, very old way of thinking about material possessions.
Curated by Roxane Shaughnessy, the exhibit creates a unique perspective, juxtaposing traditional patch-working pastimes with more urban and sophisticated techniques to create stunning works of textile art. But the exhibit does not only cultivate an appreciation for the craft of textile artistry; “Perpetual Motion” also displays various ancient artefacts from different cultures, religions and countries to highlight the important role that textiles can play in social and cultural life.
From a central Asian ceremonial camel cover to a bamboo-sheathed African dance skirt, the exhibit travels the world and highlights some of the most fascinating and intricate textiles from places many us will never see. The most impressive artefact in the exhibit is arguably a small, woven tapestry roundel from North Africa. Although it is easy to miss, this simple circle of fabric was hand stitched as early as the seventh century, making it the oldest textile in the exhibit, and one of the oldest in the entire museum.
While the notion of re-using old textiles might sound rather antiquated in the consumer culture of our times, “Perpetual Motion” posits that modern-day societies can still find a use for recycled textiles. In fact, the exhibit shows how Canadians in the past have transformed old textiles into impressive works of art. Several of the pieces in the exhibit originate from the Canadian Maritimes, as well as from Toronto. A geometrical patterned hooked rug from the mid twentieth century and a luxurious velvet quilt from the late nineteenth century are just two of Canada’s contributions to the exhibit.
It’s abundantly clear that “Perpetual Motion” is trying to convey the importance of thrift and creativity, not only in regards to textile reproduction, but also in other aspects of human life. The exhibit doesn’t ask you to start sewing your own clothes or to renounce factory-made apparel. It does, however, ask you to reconsider if you really need to throw out that pair of scuffed sneakers, or if it might still be possible to put them to some use.
