Ghizlane Sahli explores material transformation, exults it and gives meaning to it. In her artistic process, she studies the transition between two conditions, the tiny interval between the before and the after, the bridge which connect material to mind, order to chaos, accumulation to dispersion. Passionate with embroideries, fabrics and the traditional craft methods to produce it, she develops the “alveolus”: three-dimensional embroideries made with plastic bottles bottoms covered by silk yarns. She imagines poetic and dreamlike worlds where she can experiment and create links betwe- en her three passions: spaces & volumes related to her training as an architect, silk yarn related to her immersion in the embroidery production, and, environment related to her questioning about sustainable development and the planet future.
In 2012, after receiving numerous awards, Ghizlane took the decision of committing exclusively to Fine Arts and founded the collective “Zbel Manifesto” which essentially use plastic and recycled material inserted in the practice of embroidery.
After finishing her Architecture studies in Paris, Ghizlane returns to Morocco and devotes herselfenthusiastically to the practice of embroidery and sewing, developing this technique with a very special and personal vision.
"I am a visual artist today and I had to take a different path to get where I am. At the beginning, I was wondering why it took me so long to finally become my real me.
Finally, I understood that each step was very important, and each “different life” has given me animportant part of me.
I first started by studying architecture, which was a childhood dream. I’m very involved with the vo-lumes, spaces and the way we approach and live inside of buildings. I can feel very disturb, if I think a wall should be elsewhere...
Then, I opened an embroidery studio, where I was working with artisans during several years. Textileand embroideries have always been a big passion for me. To have my own atelier was a real achie-vement. I learned so much, surrounded by great artisans. I’m very lucky to have been born in a country where that art form is magnificent. Morocco has so many ways to work with silk. And this art is still alive and very popular. Usually the arti- sans are very specialized , it is hard to make them dosomething a bit different from what they are used to. I have developed a very good relationship with a few of them, and I love working with them. We are very complementary. I try to use their millenary expertise to realise my very contemporary ideas.
Working with waste is the newest part in my work. I am fascinated by the universality of that material. I always have this idea in mind: A big hand taking the human body and shaking it to clean it from all the “pollution” received by religion, education, culture, gender... And keep just the very inner and wild part of it. This is how I imagine my work. Just the inner part. The emotions.
To transform the matter that is supposed to end up as the worst part of humanity: waste, and to give it a second life as a piece of art full of emotions, is a real challenge for me. While I work with waste, Ialways think of its previous life, and its energy.
My work is very organic. It grows like cells. Each alveoli (bottle covered with silk) is a cell. Every alveoli is created by itself, then they are put together and they accumulate by knotting on a matrix (the mesh) to form the artwork. The essence of this work is created by the addition of all the energy of each alveoli. It is not a controlled work. [...]"