Beáta Gerbocová – a guest at the 7th edition of Textile Art of Today

Beáta Gerbocová is a textile artist and lecturer at the Academy of Fine Arts and Design in Bratislava, at the Department of Textile Creation. She graduated from the Studio of Free Textile Creation under Prof. Eva Cisárová-Mináriková (1995–2001), where she discovered the diversity of this medium, which can take the form of a textile painting, relief, or soft sculpture. Since 2015, her work has focused on creating tapestries using the technique of hand-weaving on digital looms. She has also realized several projects in the form of upholstery for seating furniture in collaboration with design companies.

Beáta Gerbocová is a guest at the 7th edition of Textile Art of Today, where she has prepared a solo exhibition entitled Extras in Life on the second floor of Hlohovec Castle.

What happens in your Extras in Life?

It’s very important to me that my tapestries and textile objects tell a story. There’s a reference here to historical tapestry, which was significantly narrative. At first glance, it was clear what story the piece was telling, and its creators used specific forms and color symbolism. I try to incorporate this principle into my tapestries as well.

What kinds of stories do your tapestries tell?

I don’t work with general themes but with those I live through personally. The very title Extras in Life reflects the idea that we sometimes accidentally find ourselves in life roles we are not prepared for—and only after living through them do we become “professionals.” Some events we can only evaluate and interpret in retrospect, to see whether we managed them or not. Life often requires improvisation—not in a pejorative sense, but as a simple fact.

Extras evokes the idea of a crowd on a stage, yet under your direction, anyone can become the main character.

In our lives, we are the main characters, but when we look back, we often think that if we had been better prepared, the situation might have turned out differently. We handle it as best we can, but rarely are we one hundred percent ready. Only after the experience—whether in personal or professional relationships—can we truly evaluate it.

Alongside the tapestries, you also present textile objects. Are they wearable?

People often ask me that. They have a garment-like form and at first glance seem like something one could wear for a special occasion. But there’s something unsettling about them—robustness, loose hanging threads, raw edges, sleeves reaching down to the knees. They’re made up of a mosaic of many textile structures that overlap in a collage-like way and are shaped like clothing, thus creating new interpretations and stories.

You teach at a university—how interested are young people in textiles today?

Interest has changed over the years, but in the field of Free Textile Creation—“Fiber Art”—the number of applicants has declined. There were times when around 30 people applied, but due to studio capacity, only three could be accepted. Today, it’s no longer like that. It probably reflects the mindset of today’s society and the more practical thinking of young people.

In what sense?

They weigh more carefully what they invest in their studies and what they can gain from it in practice. Since we have good connections abroad, we can see a renewed appreciation for craftsmanship and a return to materiality. I’m convinced that once the fascination with digital creative tools fades, more and more people will feel the need to materialize their artistic visions. Then we’ll see a return to media that work with tangible materials. This is also reflected in contemporary art exhibitions—for example, the Venice Biennale—where textile installations make up a significant part of the exhibitions.

Textile art is often perceived as a predominantly female field. Why is that?

Perhaps women feel a closer connection to textiles, but in the past, textile crafts were also practiced by men—there was no gender division. This was partly because it’s physically demanding work. Contemporary textile art does indeed attract more women—it’s a material that requires skill, patience, and time. Moreover, it’s a matter of touch. Women handle more fabrics and have a greater sense for structure and detail. Maybe it’s also because today’s men don’t know how to sew (laughs)… Yet it’s true that men’s work sometimes turns out better, even if they’re less meticulous about the craft.

How do you perceive the level of the 7th edition of Textile Art of Today?

It’s already a great achievement that this international Fiber Art format has been regularly presented in Slovakia for almost 20 years. It’s extremely important for general public awareness—not only among non-artists but also across disciplines. While similar textile exhibitions exist elsewhere, they are rare in our region. I deeply appreciate that Slovakia has this triennial, even though organizing it must be quite demanding.

And if you had to choose one specific artwork?

There are several inspiring pieces at the festival, but I was particularly drawn to AG – Home and Habitat by Austrian artist Gudrun Bartenberger-Geyer. It evokes multiple meanings—it could be a woman’s corset, a bridal gown, or a tent enclosing an entire world. I learned that the piece was created from clothing belonging to the artist’s family, friends, and her parents’ textile collection, which she found and repurposed. It’s fascinating both from the outside and within, carries a strong emotional charge, and its installation in the cellar environment is especially compelling.