INTERVIEW Lunis Vogt
PUBLISHED 5 AUG 26
// What is your artistic background, and how does it influence the way you approach art?
I have a degree in Textiles and Material Design and have previously worked in film, particularly in scenography. These experiences have strongly influenced my work. I often consider an object in relation to a person and want to encourage interaction between the two. During my studies, I discovered weaving as a technique. In my work, it serves as a creative tool, but also, more often than not, as a metaphor. My studies have furthermore made me really focused on materials and their haptics.
// What is your favorite medium to create art?
I always work with photography, but it is rarely my sole creative outlet. I use the camera to start my creative process by capturing moments and objects that inspire me, or as a means of research to capture moments and conversations. This visual approach enables me to develop initial ideas, which I later translate into physical forms using different materials, or edit my collected material into experimental documentation.
In general, though, I am really curious about surfaces and materials that make you want to touch them. I don’t specialise in one particular material. I have previously worked with hair, wax, leather, organically shaped ceramics and textiles. For a while now, my main focuses have been material and technique. On the one hand, I have focused a lot on weaving, and on the other hand, I have been really interested in working with materials that have had a previous life. I feel like these objects bring their own stories into my work, which enriches my creative process. I also like the limitations and faults that can be created when I have limited materials or outdated tools. These things become real counterparts and the process becomes a kind of dialogue.
// What does entanglement mean to you?
As someone who graduated in textiles and material design, ‘entanglement’ is, of course, a moment of great chaos for me. It occurs when the threads that are supposed to follow a specific pattern in a knitted or woven fabric get tangled, fall out and potentially ruin the piece I have been trying to create. However, it can also be a time of unexpected coincidences, deeper stories and fascinating connections.
// What is your contribution to SEE DJERBA 2026, and how is it connected to this year’s theme, Akros?
My work at this year’s SEE Djerba is a woven piece made of unbleached cotton that is still attached to parts of the loom it was woven on. Over its length, it slowly starts to disintegrate, forming loose threads and holes. On a more metaphorical level, however, this physical piece is a conversation between me and the person from whom I inherited the loom. By taking up the same craft and using her old tools, I see myself in the line of heritage of my great-grand-aunt Lotti.
It reflects on hidden family history and how that history still feels entangled with me today.