Line Maria le Fèvre



In the studio 2026
MRes studios, Battersea
Royal College of Art, London, 2023



Works
Her, Untold.
The Vigil & The Chorus
Animating Materiality
Creatura

Awards
Jaguar Awards at V&A East Storehouse
HIGH Everyday Couture Award

In the studio
2023
2024
2025
2026

About
Contact/CV

Process experiment with biopolymer and wood fibre
RCA Textiles facilities workshop
Process experiment with weaving paper thread into biopolymer, and weaving on hand-operated table loom with paper thread and biopolymer

Engaging with the archive:
Regner Lodbrogs Møde med Kraka (Regnar Lodbrok’s Meeting with Kraka), 1891                                             Untitled, 2026
by Louis Moe (Norwegian, 1857-1945)                                                                                                                              Paper thread netting in response to the Kraka saga
From the collection: Danmark’s Historie i Billeder XII (Denmark’s History in Pictures XII)                                              
Medium: Colour lithograph on paper, Size: height: 32.5 cm; width: 41.5 cm                                                                            
Published by: Alfred Jacobsens litografiske Etablissement, K.benhavn K, Denmark, 1898
Process experiment with weaving paper thread on hand-built frame loom                                  
Explorations in blending biopolymer with fibre mesh and weave
Process experiment with embedding wood fibre into polymer, and exploring scale and composition     

pilogue



Integer et placerat est, eu imperdiet neque. Proin sit amet purus metus. In nec efficitur justo, sed maximus est. Ut ornare arcu eros, at condimentum enim imperdiet vitae. Morbi lorem augue, commodo vel ipsum ac, sollicitudin placerat urna. Praesent sit amet mauris tortor. Duis ac risus sem. Fusce at elementum justo, ac mollis turpis. Pellentesque accumsan purus ut tristique bibendum. Nam feugiat sit amet enim in vehicula.

Engaging with the archive:
Bogomslag (Book cover), 1891                                                                                                                                        
1. Levering (1st Edition)                                                                                                                                                              
by Louis Moe (Norwegian, 1857-1945)                                                                                                                                     
From the collection: Danmark’s Historie i Billeder XII (Denmark’s History in Pictures XII)                                
Medium: Lithograph on paper, Size: height: 32.5 cm; width: 41.5 cm
Published by: Alfred Jacobsens litografiske Etablissement, K.benhavn K, Denmark, 1898                                      
Author’s note: The image depicted is of the three norns from Norse Mythology.
The image is not titled as such. Instead, it simply reads ‘bookcover’.
This appears to be the original title.         

Artefacts identified as Two Sorceress Staffs from the exhibition: Vølven’s Varsel    
(The Prophecy/Warningof the Völva or The Viking Sorceress)              
National Museum of Denmark, Copenhagen                   
Photograph by the author, 2026                                  

Her, Untold. 2026, Detail: steel, and weave construct , 130 cm x 10 cm  



Excert from MRes thesis, 2026
By Line Maria le Fèvre

A Material practice of making-with as knowledge production

Parchment-like in its tensile strength yet translucent and
soft in its movement through my hands, the polymer skin is threaded with fibres that warp through its surface, providing subtle yet resilient structural support. I weave minute stitches with a sewing needle into the exposed voids where the liquid polymer I’d cast did not adhere, its membranous materiality — permeable and thin — becomes hybrid. In an act of care, or perhaps concealment, I fill in the gap. This fragment was the discarded off-cut from a material experiment that failed to evoke a sense of connection. Countless hours had been spent pursuing this, which in the periphery of my imagination seemed full of potential, yet in reality felt hollow, almost decorative. Through this act of repair, the discarded fragment begins to reclaim meaning as a site of attention and renewed attachment. What begins as an intuitive response to the question what if I fill in this gap? generates an unexpected line of enquiry. From this moment emerges a further proposition: what if I introduce weaving into the process itself? What if I, as the Norns, who sat at the foot of Yggdrasil, and claimed loom and shuttle to weave the fate of all worldly beings, bring this dialogue in relation to story?

By this method, and without the grandiose fatalism implied, knowledge of form is not already inscribed as a guarantee of what I will make, but is generated through the encounter with material, just as the Norns’ fate-making was decided
upon as a process of weaving. Meaning emerges through the gesture of making; form is shaped through what appears incidental, as enquiry arises and directs decision-making. Thus, this very moment, and the fragment of material in my
hands, becomes a site of methodological discovery. Haraway speaks of ‘material semiotics’ — as in meaning interpreted through materials — and that these are always situated ‘someplace and not noplace, entangled’.1


1 Donna Haraway, ‘Introduction’, in Staying with the Trouble: Making Kin in the Chthulucene
(Durham: Duke University Press, 2016), p. 4.