One down

The first scarf is off the loom, blocked, fringe trimmed and ready to wear. I’m really very pleased with this one!

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It has a lovely drape and is incredibly soft.

I love the way the 3-1 twill creates such distinctive sides:

Front and back, post-blocking

Front and back, post blocking

Best compliment, from Son #4, “You could wear this and people would ask where you bought it.” High praise, indeed!

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Details: on loom- 13 1/4″ x 73″, 9.8 PPI

Off loom- 13 3/4″ x 68″

Post blocking- 13″ x 65″, 12 PPI

Ravelry link

So, on to the rest of the warp, choosing a different weft and perhaps a 2-2 twill this time?

Endings & Beginnings

Wrapped and burned Tulle, found bolts and washers, wire

Wrapped and burned Tulle, found bolts and washers, wire

After over a year spent working on the Foundations: Textiles course from OCA, I’ve realized that it isn’t taking me where I want to go. This is a mixed media art course, rather than a purely textiles course, with minimal teacher/tutor support. While this may be perfect for many students, personally I need a bit more guidance, a more hands-on, textile-based practice. I’m withdrawing from the course, though I plan to finish the last assignments independently, but without the time & expense of submission and the lengthy analytical posts. (What, you’re not sorry to be denied my artistic navel-gazing?!)

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I’ve learned a great deal this past year, been introduced to amazing artists and found some wonderful resources that I will continue to use. Understanding the important role research and sketchbook work can play is probably the most valuable thing I’ll take away from this experience. However, weaving is the area I really want to focus on, and am looking forward to Rebecca Mezoff‘s Tapestry Weaving course, starting in September!

Burnt edges

Burnt edges

Progress

About 36" woven

About 36″ woven

The warp is long enough for two 72″ scarves, so this is about halfway through the first.

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Very pleased with the 1-3 twill, it makes each side of the fabric very distinctive.

Right side detail

Right side detail

Originally planned for a balanced weave, with warp at 22 EPI, but my weft is more like 13-14 PPI. Feels right, but we’ll see how it is after blocking!

Weavers

While researching images for this part of my course, I discovered so many interesting, talented textile artists. As weaving is my main textile-related interest, I found these three inspiring:

Machiko Agano, born in Kobe, Japan, started out in textiles as a weaver. She studied at Kyoto City University of Arts in Japan in the 1970’s, and is a professor at Kyoto Seiko University. Her large scale installations are designed specifically for the space in which they will be shown. Agano uses a broad selection of materials, ranging from fishing line and wire to fabric and bamboo to inkjet printing and mirrors. Agano’s work has been shown throughout Japan and the UK. In 2001, she participated in Transition & Influence‘s Textural Space project, with her well-reviewed installation at Fabrica, and again in 2003’s Through The Surface. The Fabrica piece, a large scale installation composed of nylon filament, silk thread and handmade Japanese paper, is a beautiful example of her work, with an organic, almost ethereal feel, and a strong sense of movement. This piece certainly achieves her goal of wanting the “viewer to feel enveloped by the mysteries of nature when they see my work.”

Jo McDonald is a Scottish tapestry weaver. Her work is visually almost the opposite of Agano’s, more solid and earthy. She uses old books and other found papers, layered and rolled, woven or held together with monofilament, to form installations that create a new purpose for theses items. McDonald considers herself the “editor in the recycling of this material.” With an MFA in Tapestry from the Edinburgh College of Art, McDonald’s work has been shown throughout Europe, as well as Australia and the United States.

Amie Adelman, an Associate Professor and Fibers Coordinator in the College of Visual Arts and Design at the University of North Texas, has taken her weaving knowledge to create large-scale line installations. Her work makes me think of Spirograph, in 3D form. Though her work feels mathematically based, Adelman says she “didn’t set out to be a mathematician. I became more interested in math as my artwork developed.” [FiberArtNow, Winter 2014/15] The layering of the thread combined with her use of color create dazzling, energetic pieces. Even though only seen in pictures (unfortunately), the installations seem to glow and shimmer. Deflection, 2014 conveys the energy of the sun’s rays through the use of color in high contrasts and more subtle shifts, as well as the increasing/decreasing sett of the threads.

I hope someday I can view some (all!) of these works in person. It would be interesting to compare my impressions then with now.