Today’s interview is a very personal one. My esteemed colleague and friend Linda is presenting her art for the first time. The focus will be on her, her work, and the vernissage on May 30th, 2026.
Would you like to introduce yourself to the readers of FABILEUX: Who is Linda Durmann?
«Hello, with pleasure. As an artist, I’ve been living and working in Brussels for five years, and I’m originally from Germany. When I’m not working on something visual, I’m putting together a mixtape or preparing for a DJ performance.»
The reason for this interview is the work on your first exhibition. What did you have the most respect for with this first exhibition?
«The invitation to the exhibition came very spontaneously, which made the whole experience both exciting and challenging. What I respect most is the great trust placed in me.
«My first exhibition after graduating also means showing my work for the first time in a larger context and exposing it to the gaze of others. I take this responsibility very seriously. It is, of course, also a great opportunity for me to further develop artistically.»
What does it mean to you to have your first exhibition here in Brussels?
«Brussels is a special place for me because the art scene here radiates so much openness and a spirit of experimentation. Very different positions can exist side by side here without everything being immediately determined by fixed structures. It is precisely this dynamic and unpredictability that makes it so exciting for me to realize my first exhibition here.»
Soft Tensions Vernissage
Soft Tensions Vernissage
Soft Tensions Vernissage
Soft Tensions Vernissage
Soft Tensions Vernissage
Soft Tensions Vernissage
You are used to filling spaces with music. Now you are filling a space with artworks. What feels more vulnerable – a DJ set or an exhibition?
«Performing music in front of an audience feels different each time and is always a challenge, as you have to adapt on the spot. Mistakes can happen and might even be noticed immediately. What matters most is the here and now. The set is created in communication with the audience and constantly evolves.
It’s a different experience when showing artworks. Once the artworks are in the space, I can no longer change anything. Everything has to be decided very consciously in advance, and in the end, the works should speak for themselves.
So I would say that an exhibition feels more vulnerable to me: the artworks remain in the space and must unfold their own lasting impact over time.»
Which takes more time before you consider a work complete?
«Creating a one-hour mix is very time-consuming. The storytelling starts with the first track and ends with the last. With the internet, the music available today is practically endless. You therefore have to choose carefully, reduce, and constantly rearrange. For my textile work, the starting point is much more limited. I create with materials that find their way to me: deadstock fabrics or sample swatches that I receive as sponsorships or discover at flea markets in Brussels.
In both cases, however, there is this intuitive moment in the end when I feel: now it’s finished.»
Why work with textiles? And how do you choose the textiles, as well as the shapes and dimensions of your art?
«I have always been fascinated by textiles and fashion. Even as a child, I knew exactly which clothes I wanted to wear. I remember, for example, being desperately in need of a jacket with a rose pattern, which, of course, was also the most expensive one (laughs).
In addition, there was my passion for drawing and illustration — so studying textile design in Hamburg and later completing a Master’s in Textile and Art in Linz were simply the logical next steps. Today I am particularly interested in the materiality of textiles and their different forms of expression. Especially the way fabrics wrap around the body, shape it, and create a second skin.
In my current project, I combine transparent nylon fabric, which almost acts like skin, with fabric samples from the fashion industry.
From individual fragments, a larger textile surface emerges, where traces of physicality, fashion, and industrial production overlap.
The shapes usually develop directly from the available material, and the final dimensions only become clear when I stretch the work and mount it onto the frame.»
Do you work intuitively, or is there a clear plan before you begin?
«Most of the time, I already have a vague idea of what the work might look like in the end. That helps me get started. But the final result often develops in a completely different direction.
A strict plan would rather limit my creative process. The autonomy of textile materials and my intuitive way of working are difficult to reconcile with a rigidly predefined structure.»
What does the ideal working environment look like for you?
«At the moment, I work in my improvised studio at home. I have enough space for my sometimes rather chaotic process, but ideally I would of course have a larger, dedicated studio. Then I wouldn’t have to tidy everything up again every day.
But that is all secondary. What matters more is a clear mind, free from stress and worries, and above all, inner calm.»
In your previous series, such as “Stretched”, “Pieces of Larger Whole”, or “Sample 01”, you worked with fabric remnants – how should the viewer understand this patchwork of textiles? What should someone feel who randomly stumbles in and knows nothing about you or your art?
«At first glance, my work may look like a classic patchwork piece. But the particular character of the individual works is meant to capture the viewer’s attention and encourage a closer look.
What kind of mood emerges? Which vestimentary codes are hidden in the different materialities of the fabrics? Where does the work appear fragile and vulnerable, and where strong and clear?
These details, the interplay of materials, and the conscious breaking out of rigid grids create an atmosphere that can emotionally engage the viewer.»
If your work had a sound – would it be tension, silence, or a crack?
«Probably tense silence. Perhaps the quiet tearing of a thread or the barely audible stretching of a surface. My work appears calm, but it always carries an underlying tension.»
If someone only catches a quick glimpse of your exhibition, which detail should they notice?
«They should notice the tension between materiality and physicality, between density and transparency. The gaze should linger, and the hands should be tempted to touch.
The natural imperfection of the body and the perfection that the fabric – or clothing – aims to achieve should come through.»
Which „misinterpretation“ would you embrace rather than correct?
«For me, there is no right or wrong when it comes to interpreting my work. The textiles, the surfaces, the tension between physicality and material – they unfold their effect independently of my intentions.
Every reading is allowed. If a viewer sees something that moves them, raises questions, or sparks new associations, that is a good thing.
My work stands on its own. It tells its own story about material, structure, and physicality. Its meaning emerges in exchange with the viewer – not through my idea behind it.»
Would it bother you if someone understands your work too quickly – or would that be a compliment?
«It would bother me if my work is not understood. Clothing textiles carry strong cultural codes and often speak for themselves. A grey jersey fabric immediately conveys relaxation, and a floral print reminds one of a sunny day.
If the basic idea is quickly understood, I see it as a compliment. It means that I was able to create a sense of connection and understanding for the viewer. I am happy when art touches directly and is inclusively accessible.»
If someone says, “I could do that too,” what does that trigger in you?
«At first, I would consider that a perfectly legitimate statement. I’m familiar with that feeling. But creating something that appears simple always requires a well-thought-out concept.
The challenge lies in making the work stand independently in its simplicity. When I catch myself thinking, “I could do that too,” I also see it as an invitation to be creative myself.»
How would you like things to continue for you and your art?
«I would like to explore the language of textiles even more deeply and reveal the stories that lie within material and clothing. The work should remain accessible, speak directly to people, and invite them to feel and sense for themselves.
For me, art is an ongoing dialogue with materials, with people, and with the world around us. Especially today, in contrast to our digital touchscreen world.»
Is there a question I should still ask you?
«I would like to say something about the exhibition venue. The show is taking place at Paradis Superstore, which was founded by David Carette. This special concept store is a cultural meeting point in Brussels’ Uptown. Independent fashion, art books, and design objects meet there and form their own small, vibrant world. Every object, every garment, every publication tells a story. This unique mix feels like a perfect match for my work.»
Thank you so much for your trust, Linda!