Tussenzetsel van roomwitte machinale kant met patroon van aaneengeschakelde bloemen c. 1925

This cream-white machine lace, probably made by Gustav Schnitzler, presents an all-over pattern of interconnected flowers. With lace, it’s all about the gaps. The material is defined by what isn't there; the pattern emerges from the careful balance of substance and void. The eye bounces between figure and ground, the tangible and the intangible. Look closely, and you'll notice the subtle variations in texture. These tiny imperfections are traces of the machine's labor, like an echo of the hand-made. The creamy hue is so gentle; it softens the geometry of the floral pattern. In a way, it's like a drawing, where each thread is a line. Like Agnes Martin's grids, lace operates on the edge of perception, demanding patience and close attention.