Speaking In Code, (c) 2016; 38 in h x 23 in w. Do we mean what we think we are saying? Part of the communication series I go to on a continuing basis. I waffled back and forth about putting the title into the tapestry--not sure I like it. Will have to age for a while before I decide.
My daughter and I were in Japan from June 23 through July 11, which was a trip on my bucket list for 30 years. Check. Did it. Did it up right, too. So, forgive me if I keep referring to my wonderful adventure in Japan. One Japanese surprise was the toilet situation. Almost every toilet I encountered was, um, different. Daughter Amanda and I made this revealing video of the toilet we were exposed to in Takayama (my favorite Japanese town, by the way) Check this out.
Now I'm back home. It's August. 2016. I haven't done any weaving since leaving North Georgia back in October, 2015. But, I just warped my Fireside loom at a 38 inches wide warp. Below: dressed loom on the left, original drawing on the right. Working title: Speaking In Code. I've woven this image before, experimenting with a Silvia Heyden-like technique--that size was about 18 x 11 inches. I'm weaving it much larger this second time--about 38 x 24 inches. This image is a continuation of my series about communication.
Title: Flowers. 3 1/2 inches wide x 9 5/8 inches tall x 7/8 inches deep.
This is a book I made out of store-bought paper. Making my own paper is not something I'm interested in doing--at least at this point. There will be about 36 pages of original drawings--I think I have six more to go. The classic laid text paper is absolutely delightful to work on--takes color pencils and ink without bleeding edges or through to the other side. These aren't flowers I drew from nature, but from imagination, each with attitudes and purposes. It's taken me weeks to make all the drawings. I can usually finish one drawing in about 2 or 3 hours.
Some of my tapestries are included in "Textile Art," a book published by Norwegian company, TextileArt Around the World.
You can look at a YouTube video of the book here. I was contacted about a year ago about being included in this coffee table book, there was no charge to be in it (an unusual circumstance for many artists) and I said ok. Anyway, it was easy to comply with getting the material to them, and here it is. Check it out. Very nice!
The Juror for the awards in Woven Together was Joan Baxter, visiting tapestry artist from Scotland.
Kairos. (c) 2007. 48”W x 20”H. Kairos is an ancient Greek word meaning the "right or opportune moment," or "God's time." The ancient Greeks had two words for time, chronos and kairos. While the former refers to chronological or sequential time, the latter signifies "a time in between", a moment of an undetermined period of time in which "something" special happens. What the special something is depends on who is using the word. While chronos is quantitative, kairos has a qualitative nature.
Failure To Communicate, [(c) 2013; 44.5 in h x 59 in w] will be traveling until next April. The first venue is the New Hampshire Institute of Art.
From the website: "Hand woven tapestries from across North America will grace two galleries at the New Hampshire Institute of Art (NHIA) through the upcoming exhibition: “The Art is the Cloth.” It will run from Oct. 3 to Nov. 5 at the Institute’s Amherst and French Building galleries at 77 Amherst Street and 148 Concord Street in Manchester. The public is also invited to an opening reception from 5-7 p.m. on Wednesday, Oct. 8.
The exhibition, which is curated by artist and Manchester native Micala Sidore, features contemporary, hand-woven tapestries by about 60 makers, both invited and selected, from Canada, Mexico and the United States.
“This exhibition offers six ways in which tapestries can call attention to themselves. These pieces are beautiful and imaginative, and they provide a strategy for understanding tapestries, in both its historic and its contemporary contexts,” Sidore said. “When you look at each, think about what you see, trace the threads, take it all in, and consider the nature of cloth.”
In “The Art is the Cloth,” each tapestry is one of a kind — a hand-woven example of the ways in which the finest artists in the field are weaving works that communicate, beyond their beauty, tapestry's historical roots and techniques."
American Melting Pot Mother Goddess, (c) 2014, 60 in h x 36 in w.
The Goddess is now hanging in the Antahsara Yoga Studio in the Garden For Wellness in Clarkesville, GA. Yahooo. I wove her in record time--as though I were possessed. I modeled her on Durga, on of the Hindu religion's most popular goddesses. Hindu, because yoga originated in India. She has been worshipped as the embodiment of natural forces which grant life at the same time as taking it away, making her a very powerful goddess. She is the great protectress who guards and maintains the cosmic order as a fearless warrior. In Hindu tradition, she usually has eight arms, and often rides a lion or tiger. She is blue because Hindu gods are usually blue and I particularly like her to be blue--that way she can be every race of mothers all over the world.
I call her American Melting Pot because the eight symbols for the eight arms are about what I think are some of the leading spiritual issues right now. From bottom left, going clockwise: the book symbolizes the search for wisdom [the Om symbol is borrowed from the Hindu religion--they consider that the universe was created by the resounding sound of OM]; lightening is about a loss of ignorance and also a weapon for the Goddess; the snake with it's tail in it's mouth is based on the African "return and get it" wisdom path; the hand mudra making the peace symbol is obviously about making peace, not war; the hair on fire is a Celtic symbol of destruction/creation; the moon has so many symbols, it's amazing--a woman's monthly cycle allowing birth, wonder, balance, mystery, influence, femininity, and lots more [google it!]; the gun with the barrel tied in a knot is obvious--thou shalt not kill; the open hand represents receiving; the hand at her waist with the Cherokee Rose represents The Trail of Tears which I think began in this area.
The Goddess hovers over a mountain lion--traditionally, her feet should not touch the earth. Apparently there is only one mountain lion in North America even though there are different names across the country for the same animal. This lion has a cub and fiercely protects her young--as good mothers do.
It has taken me several months to compose an American version of a Mother Goddess. The finished piece will be 60 inches high by 40 inches wide. Woo. Big for me!!
As I weave, I'm listening to the book Holy Cow by Sara MacDonald who traveled in India for a couple of years testing out the many religions couched in that country. Her reportage is terrific.
The exhibit will travel to the Walton Gallery, George School, Newtown, PA where it will open on the 2nd of December and close on the 9th of February, 2015. Most of my favorite and most admired tapestry artists are included in this exhibit:
ALDEN, Priscilla -- Passages II
AUSTIN, Janet -- 2012 Tapestry Diary-January - June
BEGAY, D.Y. -- The Natural
BRENNAN, Archie -- Tapestry No. 456, Drawing Series LXXIX, Seated Female Nude
BUCKLEY, Elizabeth -- Portal
CORSINI, Deborah -- Into Tumucumaque
CRARY, Sharon -- WIld Turkey
DUFOUR, Line -- Divine Intervention
EDMUNDS, Susan -- Quiet Playground
EGEN, Su -- Face 2 Face
EWEN, Thoma -- Into the Light: flower gives butterfly
FRIEDMAN*, Alexandra -- Here Today
GARDELLA, Cornelia Theimer -- Untitled 1 (blue, brown)
GIBSON, Murray --Revenge: A Triptych
GOLDBERG, Tricia -- Stamps
GRIFFIN, Joan -- Sequencing Time
GUTIERREZ, Pedro Mendoza
HARRIS, Peter -- Science Experiment
HASKELL, Sarah -- What you will
HAYES, Joyce -- Etude #5: Verdant Summer
HELLER, Barbara -- The Bride, Cover Up Series
HEYDEN, Silvia -- Crescendo with Mixed Threads
IVERSON, Susan -- DIstant Boundary
KOVACS, Maria -- B & Y = Green
LAFFER, Christine -- Doña
LAROCHETTE, Jean Pierre and LURIE, Yael --The Ancestor's Garment
LAZO, Luis -- Huipil de mis ideas
LIPPERT, Connie -- Peace Doves
MAFFEI, Susan Martin -- Nessa, Nessa
MAYNE, Lynn -- Unicorn Dander
MAYS, Anna Bird -- Pairs
MENDOZA, Marcelina -- Serpiente Plumado
MENDOZA, Maria Luisa
MITCHELL, Julia -- Roman Wall Painting III & IV
MOORE, Jan -- Gift in Hand
NORGAARD, Inge -- Life Interrupted #3
PEARCE, Eve -- The Guardian
PEDERSEN, Liv -- Medicine Man
PRETTY, Suzanne -- Pease Bypass
ROHDE, Michael -- Erosion
RIIS, Jon Eric -- Ancestor's Tapestry
RUIZ, Erasto (Tito) Mendoza
RUIZ, Roman Gutierrez
SAKIESTEWA, Ramona -- Urban Galaxy 8
SCANLIN, Tommye -- Tapestry Diary - 2012
SMITH, Rebecca -- Farewell to Summer
SOCOLOFSKY, Shelly -- Paper towel
SPOERING, Kathy -- Dama con mangos
SUNDAY, Margaret -- Granite Lace
SWETT, Sarah -- It's Raining, said the Lady with the Alligator Purse
TRUJILLO, Irvin -- Profile
TRUJILLO, Lisa -- Centinela
TURNER, Alta -- In Situ Installation: Vixen
WALLACE, Linda -- Dis-connect
WARREN, Sarah -- Seasons Pathway II
WEBSTER, Sandy -- Tapestry Woman
WILLIAMS, Patricia -- Failure to Communicate
ZICAFOOSE, Mary -- Mountain for Buddha - Envy
Hairdo Girl (working title) was cut off the loom last week. It's an experiment in Silvia Heyden's technique of extreme weft on the leftover warp from a previous tapestry. Silvia's tapestries are skewed because of weaving the weft at an extreme angle. She uses unforgiving, non-stretchy linen warp and linen weft giving a strong torque. My warp was seine twine, a forgiving fiber and wool weft. Also, I wove a border all way round, and that served to stabilize the torque.
I cut it off the loom, then washed it to see if it would torque. Nope. No torque. But I do like the chevron background and I will keep on playing with this technique. It's fun.
Tapestry designer & weaver.
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