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spirals

for Marie Hazard


a spiral with a definition

a space between the here and now

fine line of destiny and fatality

created just as it finishes

in the paradox of a boundless reality

I’m no longer afraid

a spiral without an expiry date

time is only a subject

all is but a moment

one leading to another

each dying in the other’s death

I’m no longer afraid

the spiral suffocates

like the city I am leaving

in twists and turns

and yet pushing me far away

it’s the spiral that’s leaving me

I’m no longer afraid


The line follows a single law: of never being interrupted. In our linear lives, our wired lives,

the spiral is a salvation. It becomes evidence to protect us from this linear destiny. In all its

paradoxical existence, it makes us swing between the infinite and the finite, between empty

and full, between promise and destiny. Although it is dangerous, it protects us as much as

it renders up captive. The sweet and reassuring spiral becomes a maelstrom in the depths

of our being. In the face of it we are left with just an ounce of autonomy; what should we

make of this abstraction?


A millennial, it expresses itself in everything. In galaxies, winds, in nature, in living beings.

Some dance, in the spirals of bodies and minds, all the way to ecstasy, the collapse of the

ego. To destroy everything, burn everything. In belly dance, the spiral enables the

hypnotizing tarab, the mysterious force of the dancer allowing her to transcend and bring

her audience to a climax. Again, the spiral in oriental dance creates its own paradox: the

tarab is reached through the inner movements of the body, while it seemingly remains

motionlessness.


Others weave. What is more symbolic than interweaving, elliptical threads? The propeller

never stops, drawing its infinity into the artist’s movement. It acts as a spring in a kind of

balance of opposites. Marie’s spirals are both memories and promises. There is a longing

for somewhere else, striving to transcend her weaving loom through the very essence of

her work. However, she seems to find herself in it, tirelessly exploring colours, materials,

and techniques, finding answers as she moves through her choices. She invites us into

her practice, dancing in her own way, following the rhythm of her warps. Where is she

taking us? The path is in ourselves; we are weaving it each day, following the clues sown

by the spirals, the movement they create and in their strictly soft arms.


Lorraine de Thibault

Marie Hazard (b. in 1994) 


After completing studies at the Atelier de Sèvres in Paris, Marie Hazard went to London to pursue textile design at Central Saint-Martins. Her medium of choice is weaving: before taking to her own loom, she assisted American artist Sheila Hicks, a leading figure of the textile art movement of the 60s. Hicks is known for her innovative revival of traditional weaving practices. Weaving had long been considered more craft than art, but weaving techniques would enter the vocabulary of contemporary fine art through the work of Bauhaus artists such as Annie Albers, and later, the Arte Povera movement, including the work of Alighiero Boetti.