We have conducted research about the educational process involved in the production of handcrafts made by women in the state of Rio Grande do Sul (Eggert, 2009, 2011, 2012, 2013) and in this empirical research enterprise we met Ivone Junqueira. An embroideress who developed different textile handcraft techniques (re)reading the works of Frida Kahlo. They are (re)readings through needles, pieces of cloth and strings analyzed by researchers aiming to search for visibility of creation in the handcraft of women.
Although the handcraft technology has been largely left invisible throughout the centuries, women possess a long history of intimacy with strings, needles, pieces of cloth, looms, scissors. The industrial technology caused an almost everlasting detachment from manual work. However, little by little those with abilities of manual embroidery, weaving, lace and many other manual crafts arose again, initiating a thinking pattern which leads us to contemplation.
In Brazil, just as in many other parts of the world besides Mexico, there are admirers of Frida Kahlo and all of her works.
In the recognition of knowledge produced in the manual craft, we highlight the beautiful and the useful ? as pointed out by Otávio Paz (1979). In that sense, we make way for an embroidress who was infatuated and inspired by the history of that painter.
Although the handcraft technology has been largely left invisible throughout the centuries, women possess a long history of intimacy with strings, needles, pieces of cloth, looms, scissors. The industrial technology caused an almost everlasting detachment from manual work. However, little by little those with abilities of manual embroidery, weaving, lace and many other manual crafts arose again, initiating a thinking pattern which leads us to contemplation.
In Brazil, just as in many other parts of the world besides Mexico, there are admirers of Frida Kahlo and all of her works.
In the recognition of knowledge produced in the manual craft, we highlight the beautiful and the useful ? as pointed out by Otávio Paz (1979). In that sense, we make way for an embroidress who was infatuated and inspired by the history of that painter.
