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“This is certainly not only a question of anti-individual technique. The patterns I use are, in principle, ones I come upon in knitting books, papers’ like Brigitte, and designs for tapestries, fabrics, etc. In fact, the meaning of the concept ‘pattern’ is the model to be copied. These knitted pictures, then, differ from conventional iconography. If I knit a garment or sweater the hammer and sickle, for instance, there is a depreciation of the ideology bound up in identifying the logos for product propaganda and ideological propaganda. We must understand fashion not only as an adornment of the body, but as acting for the body of society. The business of the ‘boom’ is surely connected with the fact that people see a nearness to the ‘Neo-Geos.’ In my work, the wave-designs of Op-art (Bridget Riley certainly has had a great influence on Op-art fashion) do not only have this art-historical connection. The serial patters, just as the social conditions in which they originated, are of interest here, rather than the formalism of the right angle.”
- Rosemarie Trockel, quoted in J. Koether, “Rosemarie Trockel,” Flash Art, May 1987.