Marianne Kemp’s materials are simple: a wooden loom, yarn, horsehair. But simplicity is deceptive. Within that structure lies a depth in which emotion, history, and craft intertwine. Every thread carries tension, every crossing is an encounter. Sometimes it feels as if the work weaves itself, and all she has to do is follow — a listening body, more than a guiding brain.
What touches her about weaving is the slowness. In a time when everything has to be fast, loud, and visible, textiles require something else: time, dedication, attention. It is a practice of slowing down. Of patience. Of accepting that it only becomes clear at the end what has actually been said. Because the meaning rarely comes during the making — only when the work is finished does it let go of something. Sometimes these are knots that emerge hard and inexorably; sometimes it is a color that suddenly tells her something she herself did not know yet.
She uses horsehair not just for its beauty or structure, but for its layering. It is animal and vulnerable, unruly and precise. It forces her to be careful. And it adds something she cannot say with regular yarn: a certain charge, a rhythm that is not only technical but also emotional. Her work is not meant to be understood rationally. It is not a story in text, but a narrative in textiles — through color, movement, silence. Sometimes people feel exactly what she means without her explaining anything. Sometimes it remains closed to others. That is not bad. Art does not have to reveal everything. It can also preserve something.
In that sense, her practice is more than making objects. It is a form of listening. To material, to memories, to that which needs no words — but seeks form.
Biography:
Marianne Kemp graduated from the Royal Academy of Art in The Hague in 1999, after which she was awarded a scholarship to pursue her Master’s at the prestigious Chelsea College of Art & Design in London. Following her studies, she chose to remain in London and began working from the renowned Cockpit Arts Studios in Central London. It was during this time that she rekindled her passion for weaving, particularly her unique use of horsehair.
In 2003, Marianne returned to the Netherlands, where she continued to explore her craft. Her collection of both designs and art pieces steadily grew, as did her collection of looms. Today, her studio houses four distinct looms, each with its own specific capabilities. The largest loom, with a weaving width of 140 cm, allows her to create intricate carpets, while the other looms are dedicated to project sampling and custom commissions.
Marianne’s work is deeply influenced by her travels. Her explorations across Europe, and to places such as Mexico, Japan, Africa, and Mongolia, have sparked a strong interest in traditional art and design, further enriching her artistic vocabulary. Through her work, Marianne continues to merge the past and present, creating contemporary pieces that reflect a deep understanding of material, technique, and cultural influences.