Jacqueline Stojanovic

Jacqueline Stojanović studied at the Monash University, Prato campus in 2013 with the Fine Art Program organised by Monash Art Design and Architecture and came back to Prato in 2022 as an artist in residence at Lottozero, a centre for textile design, art and culture.

Give us a brief introduction about yourself and the residency you attended at Lottozero.

I’m an artist, weaver and educator usually based in Melbourne, Australia, and from October to December 2022 I was fortunate to be the artist in residence at Lottozero in Prato. My practice is concerned with histories of the handmade, taking the position that weaving is one of our ancient carriers of culture. My broader research into the varied traditions of weaving led me to investigate the weaving cultures of Italy, with Prato being a historic textile district to this day.

While in residence at Lottozero I worked on their countermarch loom, experimenting with patterns inspired by my everyday impressions in Tuscany. This project produced over ten metres of fabric which I now look forward to reworking in Melbourne. While there, I also had the invaluable opportunities to undertake an intensive course on historic technologies and techniques at the Fondazione Lisio, private courses with Florentine weaving expert Graziella Guidotti, and many cultural visits to sites relevant for my research.

How did you first hear about Lottozero? Can you tell us a bit more about their activities and what attracted you to them?

Lottozero is a textile centre located in Prato, and operates both as a creative hub and a design studio. Established in 2018, Lottozero is a centre for textile design, art and exchange with an open lab for textile production, experimentation and research. Their mission is to create a fertile environment for this research, and an international base for networking in the textile sector.

Can you tell us about your experience at the Monash University, Prato campus in 2013?

In 2013 I spent a semester abroad at the Monash Prato campus during my Bachelor of Fine Art. Studying in Prato was very influential and changed my perception of the arts industry. My cohort were fortunate to be there during the year of the art biennial in Venice, with visits to both Venice and Milan organised for us while studying. We had professional development opportunities at Careof in Milan and were easily able to visit significant museums within the region. Prato was a great base for studying in Tuscany, and I remember then feeling the presence of the textile industry in the city.

What made you decide to come back to Prato?

In 2017 I undertook a residency at the Icelandic Textile Centre in Blönduós (IS) and felt this was an invaluable experience for my growth and practice. Having studied in Prato during my Bachelor of Fine Art in 2013, I was familiar with the historical importance of the city and its place within the Italian story of textiles. So since having those experiences I have kept an eye on Prato for a relevant opportunity. I’ve followed Lottozero online since it opened in 2018, and after the pandemic restrictions eased, I reached out to them to understand more about what happens at the lab. It seemed a perfect place for my practice and research, and they welcomed me warmly.

How do you find the city and living in Prato now compared to 2013?

My experience of the city was imbued with much more curiosity this time compared to in 2013, as my daily program was far more independent living as an artist in residence. I was staying above the Lottozero headquarters, outside of the city walls where the feeling is more industrial and suburban, but each day I’d ride my bicycle to the centre and I was really impressed to see new businesses that were not here nine years ago, as well as the convivial atmosphere approaching Christmas time. Of course the experience this time was more independent and focused for my research so much of my time was spent at the loom in Lottozero, or visiting cultural sites in the area.

Do you think that your experience in Prato as an undergraduate student has influenced your career? And if yes, how?

I do believe that experience influenced my career greatly. The time studying in Prato broadened my perspective as to what can be possible in the arts. Particularly by learning at Palazzo Vaj and having access to centuries old collections. The experience propelled my curiosity in historical practices, and enabled me to reflect on my familial Eastern-European culture of arts, both of which I continue to explore.

And do you think your recent experience in Prato will have an impact on your future career?

Most definitely. Lottozero has been an incredibly special place for me and for my practice, and I’m so looking forward to continuing to develop the projects started there. I feel as though I’ve only scraped the surface when it comes to the amount of textile knowledge in this city, and I hope that my projects can bring me back again in the future.

What’s next? What projects are you working on at the moment and what do you have on the horizon for the future?

Now that I’ve returned to Melbourne I’m currently working towards my first solo exhibition at Haydens, where you will be able to see some of the things I was working on in Prato. I am also developing work for a group show at the Australian Design Centre in Sydney, a solo exhibition at Chez Derriere in Auckland, New Zealand, and I’m looking forward to following the national tour of the exhibition Pliable Planes: Expanded Textiles & Fibre Practices this year too.

If you had to choose one thing you’ve learned or experienced in Prato that has made a profound impression on you, what would it be?

The cultural appreciation and continued practice of artisanal knowledge.