Home arrow Volume 9 Issue 1 Fall 2013 arrow Jolanta Prochnowski
Jolanta Prochnowski PDF  | Print |  E-mail


Poncho (2011). Wet and needle felted wool roving, knitted wool yarn.

I have a lifelong passion for creating one-of-a-kind wearable art. Using natural fibers and traditional techniques such as knitting, crochet, Shibori, and dyeing with natural dyes in an innovative manner, I aim to design beautiful clothes that can remain in your wardrobe for years.


urban summer
 Urban Summer (2012). Digitally printed linen fabric, knitted cotton 
and acrylic yarn.


I experience the process of creating textiles as healing. Like meditation, it invokes positive feelings and thoughts, and centers me. The sensual handling of yarn in a repetitive, rhythmic manner as in knitting, and watching the birth of a material representation of my vision just by the force of my hands, are highly calming, miraculous, and deeply satisfying.

 natures child

Nature's Child (2012). Shibori tied & naturally dyed linen fabric, 
knitted & crochet cotton and acrylic yarn.


I enjoy exploring the possibilities of natural dyes to yield a multitude of colours. It is fascinating to observe how each plant reacts to the world around it, giving slightly different colour each time it is used, depending on the soil, climate, or time of year harvested. There is always the joy of anticipation since the results are one of a kind, unique, never exactly the same. I compliment natural dyeing with the traditional art of Shibori – tying, stitching, and folding the fabric before dyeing –, along with free-motion machine embroidery, knitting, and crochet approached in an intuitive, improvisational manner. I enjoy capturing the unexpected, imperfect, irregular by allowing a space for happy mistakes to occur.

Sunflower Field (2012). Shibori tied & naturally dyed burlap, linen, and wool gauze fabrics, free-motion machine stitching.


Recently, I have been exploring the relationship between nature and culture, specifically how nature can work harmoniously within an urban environment. In exploring this relationship, I experiment with Shibori-like tying and clamping of linen fabric around manmade objects, such as parts of fans and radio transistors, and then immersing the tied bundles into natural dye baths such as coffee or black walnut to leave an imprint. This exploration grew out of previous experiments with natural dyeing, emulating patterns that nature leaves over time on surfaces, like the multi-coloured layers of the semi precious stone agathe, the rusting of iron objects, or the rich patterning that mold and mildew leave on walls.

 linen dress

Toronto Skyscraper I (2013).  Shibori tied & naturally
dyed linen fabric,  free-motion machine stitching on solvy.

To me the process of making these clothes furthers spiritual evolvement by connecting the deep layers of our creativity to the universal higher powers. It makes the piece resonate in the inner being of the viewer and hopefully affects and inspires him/her in a positive way. The more time, love, and effort the artist puts into the making of an object, the more it responds by telling a story and conveying a meaning, and elevates the piece into the realm of a common human experience.

 linen top

Toronto Skyscraper II (2013). Shibori tied & naturally dyed linen fabric, knitted cotton and acrylic yarn.


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