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The innovative

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Living nature mirrors the personality, tastes and the affection of Tania Nobrega for her island, for its lush natural surroundings and its traditions. It is however, an innovative concept of craftsmanship that reflects a very personal view of a regional universe that expresses the beauty, joy, and the colorful variety of Madera's ethnography, through her puppets, necklaces, bags of filter flowers.

Who is your customer?
Tania Nobrega: It's someone like me who loves color. Enjoying nature and forms. As for the flowers, though not a faithful copy of reality is achieved through the tone, shape and texture feel that nature has for that person and enjoys using it. It is also a woman who appreciates a change; my pieces are not tied to one mode of use. In handbags, the flowers are not fixed, can be applied again, the idea is that the process continues. The necklaces have brooches, which are not fixed may be used on the lapel of a coat. It is above all, a customer who likes to change, color, nature and elements linked to regionalism. These are people who appreciate what Madera has to offer and also have no bias because the regional pattern is for tourist only.

You have two types' collections, one focuses on the theme of folklore, other shows various types of flowers, reasons for these two and not others?
TN: Actually I started with flowers, was something that I engage very early. First, because I was born in Venezuela and have always lived in an apartment. There was a fantasy from what my parents told me of Madeira, about their small house with its yard, where there were many flowers and fruits. They were all things that I did not have. My mother is a passionate about flowers. The first drawings I saw, were mostly floral motifs were pansies and she knew how to make paper flowers, because of the festivity she participated. I think it started from there. When I see a flower no matter how small, the most paltry and insignificant, they deserve to be appreciated for its wealth of forms and realize that nature is so perfect, that sometimes we passed thru and not realize it. When I started "living nature" my concern was to try to pass it on every part I liked best and which dazzled me. Later, the collection of dolls began with folklore groups. I participated in craft fairs and I am always thrilled to see them dancing, in this holiday season, either in the 48 hours of Santana, where all the groups are together. It was impossible for me to remain indifferent and had already done a request to a client, so I decided to try. Hence was born to work that they have branched into other things because I do a search for each costume and insert the figures in a regional context. I try to have those characteristic details of the location, I want to bring that particular site, though I cannot transmit smells, I try with meticulous details, the colors, reviving memories of those who know about it and does who not know that it is and are willing to learn.

Why the choice of filter?
TN: I chose this material because it is very easy to work and has immense potential. It is not a tissue that reels off, it is very easy to manipulate, sewing and gluing. Although glue a few things, I like sewing. The filter is also beautiful, because the colors are flat, they are worth by themselves, the rest comes from me, and I do the rest. Available in many thicknesses and as we discover that, I begin to uncover its tricks and even the craze of the material.

There are other materials that you use beyond the filter?
TN: Yes, I use silks, soft tissues; the regional cloth that is difficult to work because reels off a lot. Allows some other things. I have a line that allows more vintage ribbons, buttons, and sometimes customers bring the material. I have a collection called "lost and found" that is to recycle an object, or a ribbon of a wedding, or a jewel that they really loved, we created a piece in which this object is the starting point. It can be the most varied.

You to interpret the information?
TN: It's a job for two. The person brings the piece they know my work and identify with it, ask me to include the object in a scenario that will be unique and original, because hardly anyone will have an equal. These works are the one I like to do the most, because they are unexpected, which forces you to think and how we solve the puzzle of this more specific work.

On average to create these regional figures, how long do you take?
TN: This is the most common question. I'll answer the same; it is very difficult to say how long it takes to make a doll. Why? Generally, the piece is made from the beginning to the end of the process by me. There are delays, because there are at times some specific details not apparent at the beginning and can take much longer. Then the other dolls that derive from this first are much faster to develop, but it's hard to say because they are all different, many hours, many back pain and shoulder, but when I look at the finished piece and the satisfaction in the customer faces does everything goes away.

You draw first?
TN: Some yes, for the frames. The first doll was designed and tested, now everything is automated so that I do I want to and add details. When I want to create a frame, I draw. Maybe it's addiction training, because I come from the area of ​​architecture, like the professional design little has to do with the final product, but is the beginning of a commitment that will be changing to a finished piece, but it helps a lot for at least organize the ideas of what I intend to reach, the ultimate goal.

Do you have idea of the number of clients you have?
TN: No.

You know you are on the rise?
TN: Yes, because the best advertising is through mouth to mouth and this has happened to me. I have a customer who buys it, when she takes to work turns out to offer them and her friends come to me. It has a multiplier effect. I have more fixed customers because they like to use more often my accessories and there are those who only use them at special times and orders are not so often, but know they can count on me to fulfill their needs.

How many replicas of the traditional costumes of Madeira you made?
TN: So far I have done 70, but I do not know how many there are, or even know if there is any person related to the folklore that you can answer that.

Where do you get this stuff?
TN: There is little scientific and accurate information on the subject. There are studies done by the folklore groups, so I talk to them and ask. The dresses can be for a single girl, a married woman, and then there are the costumes of work. Another way to search through the older postcards, but I have to be careful, because whoever did them, also made an interpretation of the clothing and I do not know to what extent this reading is faithful to reality. Then there are some books, no pictures, describing in detail some parts. Customers are also a source of information, when I participate in certain events; people come to me and explain to me the origin of the costumes. They add to the information I have. This is one of the aspects I like most of my work. People may think that the accessories are futile, but I think it depends on the emotional burden placed on each subject. These are not gold or diamond, turn out to be caring little gems in which I deposit a lot of care in doing them, because even if I make half a dozen, each of which may have a name, each one has a look and a different smile. Then when the person buys it has that special meaning is not futile. It serves to remind the island, to evoke the joy of Madeira their smile and it's very colorful. I have an English couple who contacted me and were very happy indeed to find me recently, because two years ago, purchase me a piece that offered to their granddaughter and she loves this doll and that brings me great satisfaction. The work is not in vain. The idea is to pass this knowledge, joy and affection. It's not just the part, but everything that surrounds it.

You want to try other lines, other collections in the future?
TN: The concept is "living nature" and within the vision I have three lines, flowers, folklore and the "lost and found." I thought of many things, but there are physical limitations of time and because it is very difficult to find someone who works with me. It is a very personal, very detailed work and there are so mine that give them to someone else to finish it would be very complicated. The packaging is made out, but a lot of graphic design is done by me, are areas I can explore. In terms of craftsmanship, the work I do is reflected only in such parts. I have many ideas yet to mature. I want to create a website, but only to show my work, do not intend to sell them online because not everyone is looking for it to purchase, it is to copy it, they distorts the concept, people feel cheated because it is not like the original. So I prefer a more personalized treatment and it's going so far so good.

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