Michael Christie

Iranian Moderne as represented by the carpet 'Miran' by Farahan Carpet. | Image courtesy of Farahan Carpet. | The Ruggist.

Iranian Moderne | Farahan Carpet
Terroir encounters modernity and the result is quiet appealing.

14 April 2018 Michael Christie Noteworthy

Persian and Oriental are two terms whose use in reference to rugs and carpets conjures mental images of familiar designs such as Tabriz, Kashan, Heriz, and Kerman even if the proper names remain unfamiliar or unknown. These designs, just like many others originating in either Iran itself, the geography of the former Persian Empire, and indeed in Central-Asia broadly have also come to be known as so-called Traditional carpets with all three terms used more or less interchangeably, in part due to the region’s former centuries spanning dominance of carpet production and trade. So while there inarguably remain innumerable examples of equally as traditional weaving and design the world over, the aesthetics of Persia have come to monopolize what is known as Traditional, Oriental, or Persian (T.O.P.) design, at least in rugs and carpets from the Western perspective.

Jan Kath has introduced a new carpet named 'Magic View II' which is a fusion of Magic View and Cloud. | The Ruggist

Magic View II | Jan Kath
As progeny of the of the firm's earlier work, 'Magic View II' is an exemplar of photorealism in carpets.

13 April 2018 Michael Christie Noteworthy

As the early 21st century begins to wane many of the innovations which have propelled the art of carpetry to its current zenith have passed from novel to commonplace. The technology which brought forth the rise of photorealism in carpets is now pervasive; its functionality enjoyed by countless carpet makers and designers the world over – regardless of their artistic or aesthetic merits. This is the natural state of progress, yet as any connoisseur knows there can be and is great divide between technical and artistic acclaim. In short, just because one can manipulate an image via computer and make it into a carpet does not mean one should. However, time and time again the firm of Jan Kath has demonstrated an adept ability to find balance between technical achievement and artistic merit; this is the nexus point, the so-called ‘sweet spot’, and in its latest manifestation it presents itself as the enchanting ‘Magic View II’.

Ragmate is the 2018 evolution of the successful Ragamuf Chair Cover of 2017. Image courtesy of Ragmate. | The Ruggist

Avant-garde Rugs for a Modern Crisis | Ragmate
As encore to the success of Ragamuf, the rechristened Ragmate looks toward sustainability.

9 March 2018 Michael Christie Noteworthy

While the Ragmate Collection of cushion (toss pillow) covers, throw rugs, floor rugs and wall rugs possesses the same endearing shaggy texture as the original Ragamuf, the technique of manufacture differs. Instead of being handknotted to a stretchy substrate – as was the process for the Ragamufs designed by Finnish designer Tuula Pöyhönen – Ragmates are instead knotted to a stable net, which is a ‘very old and common technique, at least in Finland’ according to Leskelä. Utilizing waste textiles from the fashion industry, Ragmate is the realization of the long-held dream of Leskelä and the result of her endeavours to help those in need. ‘I want to use my skills and expertise so that as many female refugees as possible will have the chance to improve their condition to survive in their lives.’ Each individual and unique Ragmate (no two are the same) bears attribution for the Syrian refugee who handknotted it and in some instances even offers inspirational thoughts from the same.

UK Heritage Rugs as featured on The Ruggist

Empire in Retrospect | UK Heritage Rugs
A new collection from UK Heritage Rugs adapts noted artwork into rugs and carpets.

9 February 2018 Michael Christie Noteworthy, Opinion

In speaking with UK Heritage Rugs’ Principal Brian Sales during Domotex it was apparent his passion, no, his calling, no, his mandate was not to be euphemistically inspired by the work of others – as is the purported case of so many who knock-off the work of others, but rather it was to honour the originals. By working closely with the curators who oversee the works his firm licenses Sales was able to ensure – as best possible given no-one involved created the originals – the carpets present the artwork in a manner befitting the originals’ museum quality status, however the reader prefers to interpret that. Without hesitation Sales has succeeded in this regard, though whether or not the firm’s carpets themselves are ‘museum quality’ is an academic question left for the reader and future curators.

The 'Silence Azerbaijan Collection' by Nasser Nishaburi as featured on The Ruggist.

Silence | Nasser Nishaburi
The absence of words... The absence of sounds... This is the beauty of silence.

5 February 2018 Michael Christie Noteworthy, Opinion

To write of rugs and carpets is to interject oneself into an esoteric world replete with a cast(e) of characters far to numerous to enumerate herein and from my decidedly privileged Western experience it further seems as though each of those characters has at least one (1) opinion on any rug topic imaginable. Thus it is when choosing to discuss a particular topic or specific rug, one has to decide not only one’s own thoughts on the matter, but also the approach and tone of the article. Is the discussion serious or irreverent? Yes. Does it – as has on occasion been the prerogative of this author – examine carpets with an eye toward pure design; a faux reality of aestheticism in which meaning is lost in favour of the ephemeral and obsolete, planned or otherwise? Perhaps… .