To interview the Portuguese artist Joana Vasconcelos is to jump on to a moving train. She is telling me why she uses needlework to make huge things: 15-metre doilies, say, or a tree 13.5 metres tall rustling with 150,000 hand-sewn leaves. “One day, I said to myself,” she says, “why not bring domestic detail into monumental sculpture? What do we know of works like this? OK, there’s Louise Bourgeois. But it wasn’t enormous. She worked in detail but on small things. There’s the beauty of Niki de Saint Phalle. But it’s always papier mache – a technique that’s very simple, very practical, but not chic.”
It takes a certain something to compare yourself to these two French giantesses of art. It takes something else to castigate Bourgeois and de Saint Phalle for not being big, bold and beautiful enough. But if there’s one female contemporary artist who can do it without coming across as delusional, it’s Vasconcelos. Born in Paris in 1971 into an artistic Portuguese family, Vasconcelos has established herself as one of her country’s leading contemporary artists – and one of the world’s most ambitious.
