Ruuduline puust karp seisis raamaturiiulis kõige kõrgemal. Malendeid polnud lubatud mängunurka viia, ehkki need neli ratsut otse kisendasid, hirnusid selle järele, et olla osa mängudest, mis polnud piiratud nelinurkse must-valge väljakuga. Kui karp mänguks alla võeti, oli kuulda malendite puist klobinat. Mustad ja valged armeed reastati algpositsioonidele. Malendid tegid pehmet häält, nende alla olid kleebitud tumepunasest vildist rõngad. Toimusid avangud, manöövrid, ohverdused, anti tuld. Kui reeglid selged, saime teada, et ratsu saab hüpata üle teiste malendite ja hüpates satub alati vastandvärvi ruudu peale. Mustale järgneb valge ja valgele jälle must. Ratsut oli kurb ohverdada, tal oli nägu ja ta liikus kavalalt: kaks ühes suunas, üks kõrvale. Odast loobumine oli märksa valutum.
Ratsuga on seotud huvitavaid matemaatilisi probleeme: kuidas peab see malend liikuma, et käia läbi kogu mänguväljak nii, et puudutab igat ruutu vaid korra. Meie näitusele andis nime – Ratsurada – just selline teekonna kõikehõlmav loogika, mis on ju nii sarnane tekstiilsete struktuuride ehitamisega: olla igas hetkes (silmuses-sõlmes-ristumises) ainult korraks, olla kohal. Loodud objektid viitavad sarnaste teekondade ladestumisele kiht-kihilt, rida-realt, tulemuseks on stalaktiidid, ruumilised valged kogud, mille vahel ja läheduses leida leevendust taeva jäänud talvele.
Nii kirjeldavad kunstnikud oma vastavatavat näitust, kus tööde teostamisel on kasutatud üleelusuurust silmuskudumist ja originaalset kudumistehnikat MultiWeave.
Kadi Pajupuu (1963) lõpetas Eesti Kunstiakadeemias tekstiili eriala 1986 aastal. Hetkel töötab dotsendina Kõrgemas Kunstikoolis Pallas. Näitustel on esinenud alates 1987. aastast, esialgu gobeläänidega hiljem autoritehnikas tekstiilidega. Lisaks kunstiprojektidele tegeleb tekstiiltöövahendite arendamise ja müügiga (RailReed, MultiWeave) ning materjaliaretustega. Isikunäitusi on kunstnikul olnud Eestis, Soomes, Rootsis ja Leedus. On Eesti Kunstnike Liidu ja Eesti Tekstiilikunstnike Liidu liige.
Marilyn Piirsalu (1981) lõpetas Eesti Kunstiakadeemia graafika eriala 2004 aastal. On osalenud näitustel videote (Tallinna IV joonistustriennaali preemia, 2012) ning kuivnõelagraafikas töödega, alates 2010. aastast ka tekstiiliinstallatsioonidega. Isikunäitusi on olnud Eestis, Soomes, Leedus, Rootsis. Töötab disainerina ja OÜ Kadipuu tootearendusega. On Eesti Kunstnike Liidu ja Eesti Tekstiilikunsnike Liidu liige.
The checked wooden box was placed on the top of the bookshelf. The chess pieces were not allowed to be taken to the play corner even if the four knights seemed to scream and to neigh in order to be part of the games not restricted by the quandrangular black-and-white square. When the box was taken down, the sound of the chess pieces thudding could be heard. The black and white armies were lined up to their starting positions. The pieces made soft noise, their bottoms had dark-red felt circles glued underneath. Openings, maneuvres, sacrifices, checks were taken place. When the rules were clear, we learned that the knight could jump over the other pieces and while always being on a square of an opposite colour after the jump. The black square is followed by the white one and the other way round. It was sad to sacrifice the knight since it had a face and had witty moves: two moves to one direction, and then one to aside. It was much easier to give up the bishop.
The knight is related to several interesting mathematical problems: what is the trajectory of the chess piece in order to cover the whole chess board while touching every square only once. The title of our exhibition - Knight's Tour - was namely inspired by this comprehensive logic of this journey so similar to construction of textile structures: to be in every moment (looping-knotting-crossing) only once, to be present. The created artwork relates to the sediments of similar journeys layer by layer, line by line, resulting in stalactites, spatial white wholes providing reconciliation for the absence of winter.
This is the artists' statement for the present exhibition where Pajupuu and Piirsalu have extra large format of knitting as well as an original knitting technique called MultiWeave.
Kadi Pajupuu (1963) has graduated the department of textile art at the Estonian Academy of Arts in 1986. Presently working as an associate professor at Pallas University of Applied Sciences. Participating in exhibitions since 1987, first with her tapestry pieces, later with textiles. Besides various art projects, Paljupuu is actively involved in development and sales of textile tools (RailReed, MultiWeave) as well as material development. She has held personal exhibitions in Estonia, Finland, Sweden, Lithuania. She is a member of the Estonian Artists' Association and Estonian Textile Artists' Association.
Marilyn Piirsalu (1981) has graduated from the department of printmaking at the Estonian Academy of Arts in 2004. She has participated in exhititions with her videos (Tallinn 4th Drawing Triennial Award, 2012) and dry point graphic artworks, since 2010 also with textile installations. Piirsalu has held personal exhibitions in Estonia, Finland, Lithuania, Sweden. The artist works as a designer and as a product developer at Kadipuu LLC. She is a member of Estonian Artists' Association and Estonian Textile Artists' Association.