FRINGES

A series of short stories included in the FRINGES book, inspired by participants of the Sansusi Well-Being Programme

Part of TRANSPARENT CURTAINS SOFTEN THE LIGHT

Alexander has a distinctive drawing style and has created many recurring characters. He rarely joined the workshops but when he did, he brought a stack of drawings to share, often giving some away. Inspired by one of his works I embroidered a design on a piece of agrotextile I had found in a shop in Akniste. When I showed it to him - slightly nervous about his reaction - he smiled. I asked if he liked it and whether he approved of me exhibiting it alongside his original drawing, and he happily said yes. When I thanked him, he gave me a hug. Alexander attended the programme’s closing event at the Garsene Cultural Centre. He was delighted to see his drawing on display, took part in the collective performance, and danced with joy. We also took a photo together, holding up our pieces.

Lienite used to come to the workshops regularly. She doesn’t use verbal communication and likes to draw. During one movement exercise we made cat noises and from that day on, I think she started meowing a lot. In another workshop, she created an abstract image that we kept in our archive. I embroidered over it and showed her the piece. She didn’t react much when she saw it. When I asked if she remembered her drawing she responded positively, though she didn’t answer my other questions in a way I could fully understand. I hope she liked it. When I asked if I could take the piece with me she agreed, and her caretaker gave permission for me to exhibit it. Lienite didn’t attend the programme’s closing event and didn’t see our work on display. It’s difficult for her carers to organise such trips. She’s unfamiliar with the venue and it would be challenging for her to ask for help with things like using the toilet. At the social care centre she knows the place well and moves around independently - quickly, too.

I couldn't remember who Valdis was, I had to ask my colleagues. Barbora thought he came to the workshops twice, recalling that once he wanted to leave but stayed and sang with us when we started playing the ukulele. We had a drawing with his name on it in our archive. I liked the way he used only the colour yellow to cover the whole page I embroidered over it and I asked to meet him. He came to the meeting in a hurry showing that he was anxious to leave, and I was afraid that he might be annoyed by my request. At least I remembered him when I saw him. I showed him the embroidered piece and asked him if he remembered his drawing. He didn't seem to, but he did recognise his signature. I asked him if he liked my embroidery over it and he replied that he liked that it was now tangible. When I asked him if he would approve of me exhibiting it, he said yes. Valdis didn't attend the programme’s closing event. He had told the caretakers that he was not that interested in the programme's activities.

Igor used to come to the workshops regularly, then suddenly stopped. We heard that he had injured his leg and found it difficult to continue. He speaks Russian and could talk with Yiannis and Linda who also know the language. Igor often smiled in a mysterious way. One day he stood up abruptly and left the room only to return moments later with a packet of biscuits for everyone. In one of his drawings in the archive he had created something like a giant bird or a dinosaur. I embroidered over it spending many hours filling in all the blue areas, not just the outline. When I asked to meet him, he seemed pleased to see me - and his leg looked better. I showed him the embroidery which he examined carefully, even the back. Yiannis translated for us. Igor said he liked it and gave his permission for me to exhibit it. When I thanked him, he smiled and shook my hand. Igor didn’t come to the closing event - perhaps it was because of his leg. The caretakers mentioned that residents often feel low at this time of year when it’s dark and cold, and they’re less motivated to go out.

Agnese used to come to the workshops with her hair in two neat braids. She always sat quietly, slightly bent forward, happy to join in the activities. Her friend Kristiana often sought her attention and care, and Agnese would respond with gentle affection. During one session everyone lay down on a long sheet of paper while a partner traced the outline of their body, creating a life-size canvas that could become a garden. At first Agnese found it hard to draw because the paper was on the floor. Orkun noticed and brought a table from the next room so she could sit and work comfortably. She then began eagerly filling her outline with large blue flowers. I was struck by the energy of her hands. We kept the drawing in our archive, and I later embroidered a piece the same size. When I showed her both her drawing and my embroidery, her face lit up. She remembered her work clearly and said she liked mine too. She happily agreed that I could exhibit them together and she tenderly caressed my hands. Agnese couldn’t attend the closing event and didn’t see our works on display which made me sad. We saw her the next day. As soon as she entered the workshop room, she explained that she had missed it because of an eye problem. I was touched to see how important the event had been to her. I was glad she was feeling better - she even had her nails painted a pretty pink. Saying goodbye wasn’t easy.

Lienite often rushed into the workshops with a smile. There’s something endearing about her - even the few missing teeth at the front make her sweeter I think. It was clear that everyone in the group was fond of her. She lives in the hospital and is friends with Yiannis from the social care centre. According to Anda, Yiannis once lived at the hospital, and that’s how they met. Sometimes Yiannis sends her video messages through Anda and she replies in kind. I especially love the garden she drew inside her body outline - it’s so expressive. That day, when I asked if she wanted to be photographed, she smiled and proudly showed the camera her paint-stained palms. I tried to make an embroidery inspired by her drawing, but I couldn’t quite capture it and eventually gave up. Lienite came to the closing event and happily joined the performance. She also met Yiannis there and the two of them look delighted together in the group photo we took at the end of the evening.

The first thing that struck me in Akniste was the white, transparent curtains adorning many windows. They seemed to soften the light, gently illuminating the rooms. Inspired by this image I decided to create my own interpretation using cooking paper - white, transparent, and conveniently available at the local supermarket. I began embroidering patterns inspired by the  the programme participants' drawings, preserved in our growing archive. Four embroidered sheets of cooking paper came to represent the curtains. When I showed them to participants from the social care centre, they politely said ‘labi labi’ meaning roughly ‘good good’, though their expressions were hard to read. The participants from the hospital however were more enthusiastic - curious, eager to touch, and generous with their applause. Before installing the pieces at the cultural centre for the closing event we noticed that the actual curtains there had long, elegant fringes. Linda suggested I add fringes to my embroidered pieces as well. It turned out to be a lovely  albeit extremely time-consuming idea, adding texture and a deeper connection to the space. Thus my curtains have fringes too. 

Sansusi Well-Being Art Residency, Akniste, Latvia, October- December 2024

The programme focuses on engaging with local vulnerable groups and welcomes artists who are keen to involve marginalised communities in the creative process

In cooperation with the Akniste Psychoneurological Hospital and the Akniste Health & Social Care Centre

Artists: Emma Pinoteau, Orkun Turkmen, Barbora Turkmen, Marianna Karava, Linda Krumina

Programme assistant: Anda Lace

Supported by Culture Moves Europe mobility programme

All works and photographs from this project are exhibited with the approval of the participants and their caretakers