Carpet c. 2000

Editor: Here we have a carpet made circa 2000 by a Chichaoua Amazigh, or Berber, artist. It uses mixed media to create these repetitive geometric shapes, almost like rectangles embedded in a field of dark fibers. What stands out to you about it? Curator: For me, this piece speaks volumes about the labor involved in its creation, specifically fiber art made within the Chichaoua community. Notice the imperfections, the slight variations in the dye, the hand-spun nature of the wool. Does this suggest something about its intended use versus, say, a machine-made carpet? Editor: Well, given those variations, it seems much more personal, maybe less about pure function and more about… artistry and self-expression? Curator: Precisely. But even within that ‘self-expression,’ there are economic realities at play. Consider who traditionally produces these carpets, how they learn the craft, and the social value placed upon their skills. We must ask ourselves, how much control did the artist have over the materials, their acquisition, and how this influenced their work? Editor: That makes me think about where the materials were sourced and whether trade and access impacted the kinds of patterns we see here, and the colours, too. Curator: Exactly! This is about shifting our focus from a singular artistic genius to the collective effort and the complex web of materials, production and even the marketplace. And finally the home in which is resides and functions. Editor: So it's not just an aesthetic object, but an artifact loaded with stories about production, consumption and its role within the Chichaoua community? Curator: Precisely. It transforms something as everyday as a carpet into a powerful document about human labour, materials, and community. Editor: That gives me a whole new appreciation for the carpet as a tangible representation of culture and labour!