Anita's tapestry is finished
Anita's two weeks with me has finished and she completed her tapestry sampler and cut it off the loom last Saturday morning. She is very happy with her progress and looking forward to starting a new work at home. She took a frame home with her with a warp on it and a design all ready to start weaving. She is also putting together her Glimakra Regina tapestry loom and will be working on that some day soon.
If anyone reading this blog is contemplating a holiday in New Zealand at some time why not book a week or two week's accommodation and tuition with me in my home and studio in Christchurch. You can contact me from this blog page or e-mail or phone me at any time. Contact numbers are on my website.
Anita's Tapestry is Nearing Completion
Anita's time in my studio is fast coming to its end as it is now Thursdy evening and she is flying home to Australia on Saturday afternoon. Her tapestry is looking good with the last exercises to do tomorrow. Saturday morning will be spent in cutting off the tapestry and finishing it ready for hanging.
Anita started her tapestry with simple straight lines and stripes to enable her to get used to the weaving process, concentrating on bubbling the weft so that it would not be too tight. Curves with an outline introduced her to building shapes and weaving the circle was another lesson in shape building. A circle is one of the most difficult shapes to weave. The black and white pick and pick came next and this is a very interesting technique which can find a multitude of uses within a tapestry.
One of the most important techniques learn is the simple hatching. This technique is one of the main ways of blending colours and involves recognizing the different sheds to allow the different colours to overlap.
The blue shapes are indicative of cloud shapes and here Anita was learning the difference between hard edged shapes and how to soften them by mixing the colours together on one bobbin.
Today she worked on regular hachures, weaving the long arrow shapes the was a technique prevalent in the early tapestries for blending colour. The last exercise is a series of diagonal lines, learning how to weave straight diagonals and outline the shapes to form lines.
My new student Anita arrived a week ago and has been weaving in the studio ever since. She is a new tapestry weaver and is learning the techniques on a sampler that is very reflective of her home country, Australia.
Don't you love the colours, rich reds, russets and oranges. For the last two days Anita has been working on colour blending through hatching, learning how to mix and blend colours that contrast and also those that create subtle blends. This afternoon she started building small blue shapes within a red/russet background in preparation for the weaving of her first tapestry.
'Within the Square' The Travelling Suitcase Tapestry Exhibition 2010
The Travelling Suitcase Tapestry Exhibition is now packed up and on its way to the next leg of its journey in Dunedin. It was exhibited here in Christchurch in the Cloisters Gallery in the Arts Centre recently for two weeks and had a lot of visitors and a lot of positive comments. This exhibition is held every three or four years in New Zealand and consists of the work of tapestry weavers around the country. This is the second time that the Canterbury Tapestry Group has organized this exhibition and our thanks go to all the group and especially to Gwen who has shouldered to bulk of the work in organising the couriers and the itinerary. It has been a huge job for her and she has done it superbly.
Here are some images of the opening night of the exhibition in the Cloisters Gallery.
Leslie, Diane and Meg chatting at the opening.
Here we see Ria chatting with Jean, Gwen,Dave and Sue in the background.
Here we see two overviews of the exhibition. The tapestries are stitched on to boards that are covered in black cloth. The brief for this exhibition was that the tapestries could be any size or shape up to 20 x 20cm. The black boards set off the tapestries beautifully and they all slot easily into one big box for the travelling. The first exhibition was held a year or so after Archie Brennan's visit to New Zealand in 1993 and we have managed to keep it going albeit not every year since.
Here are the last images from Helen's Studio Experience and workshop with me. She is now winging her way home to China. I asked her if she would write a little about her experience here in my studio and has given me permission to do with it what I want. So here is her story.
Recently, I completed a tapestry workshop with Marilyn Rea-Menzies of Christchurch, New Zealand. The experience included six hours of daily studio time and accommodation at Marilyn's home. I must say that both the instruction and the accomodations were excellent, and Marilyn a marvelous teacher and a most gracious hostess who never once groused over my many interruptions while she did correspondence with friends and family or her daily Art at the Ktchen Table series of pen drawings. Let me share with you some of the lessons I learnt from Marilyn through our many discussions at the loom and the kitchen table.
Tapestry is more than the conjunction of warp and weft. It is art. It is bilingual, for it is spoken of in the languages of weaving and art. Also, it is intellectually challenging because the weaver is constantly engaged in interpretative and adaptive decision-making. More significantly, tapestry is passion, not patience.
At every juncture of the weaver's interaction with weft and warp is a constant decision-making, from design concept to the act of weaving itself. How to convey, using weft, one's vision? How is a non-artist, like me, to proceed from my own design conception to actual design to cartoon to tapestry? Marilyn Rea-Menzies showed me a manageable soloution to this dilemma that provides a foundation for my continued growth as a tapestry artist.
The act of weaving is the act of constantly adapting. I learned that inflexibility is not a desirable attitude in tapestry weaving; instead, you adapt according to the interpretative decisions that you make. It is this constant adaptation and interpretation that makes tapestry so intellectually demanding, I think.
Interpretation is a key aspect that is played out in color, tone, shape, texture, weft and other aspects of tapestry. Since the tapestry itself is a work of art, it needn't be - or shouldn't - be a replication of another work, either by oneself or someone else. Instead, the tapestry is an interpretation of the design as one conveys it from paper to warp and weft.
I must confess that I came to Marilyn's workshop with a somewhat pedestrian perspective on tapestry' however, I've been converted to realize that it is art, in and of itself. It is passion, too.
Though some tapestry projects can be of long duration, tapestry is passion because the creative and interpretative acts that compel you forward requires that quality, and not patience. I have a somewhat limited supply of patience, but tapestry never begins to plum either its surface or depths.
These are some of the lessons instilled during my two-week workshop with Marilyn Rea-Menzies, and they have become the firm foundation of my future as a weaver. I will always remain profoundly grateful to Marilyn for the insight, the patience, humor, and the passion with which she taught me.
Great workshop; excellent teacher!
This photo shows Helen photographing her tapestry after working on it for the first week of her stay in the studio. Below is a closeup of the tapestry.
A Mini Exhibition of my Daily Sketches
A suggestion by tapestry weaver Janet Austen from America that I do an exhibition of my daily sketches resulted in a small exhbition of these works. I had the bright idea of showing them on the wall of the landing on our stairs up to the studio. This has worked well and the sketches are looking good in the space. Hopefully they will attract more people up to the studio.
Here you can see all the drawings from my first sketch book for the year. On the wall to the left is Wilson Henderson's double weave wall-hanging and to the right are Anne Field's posters for her weaving books and two wallhangings.
In January of this year I decided to try and do one sketch a day of whatever was on my kitchen table that day. I have found that that is quite difficult to do, as sometimes I have already drawn what is there on any given day. So I have taken to bringing stuff on to my table and drawing it. It is very much a discipline to do a sketch every day and some days I do not manage to do it. Best not to feel guilty about it, as Tommye Scanlon told me. Tommye is a tapestry weaver in America who has set up the blog 'Tapestry Days' for those of us who are doing a daily drawing or tapestry discipline. It is a great incentive to keep going with this work. My lace tablecloth features in many of the drawings. I have found that my sketching skills are improving with doing so much drawing. It takes me about an average of half an hour to do each drawing, sometimes using pencil, sometimes ink and sometimes ink with a watercolour wash. My confidence with watercolour is also growing.
Helen is progressing well with her tapestry. She has an innate sense of colour and is developing the skill of mixing the strands of yarn to create the colour she is visualising in all parts of the tapestry.
Riko visited the studio on Sunday afternoon with her husband Hugh and the two boys, Alex and Matthew. Here is a photograph of myself with Helen, Riko and young Alex.
My First Live-in Student has Arrived
My first live-in student, Helen Cadogan, flew into Christchurch yesterday afternoon and she will be staying with me in my home and studying tapestry in my studio for the next two weeks. She was pretty tired after travelling all the way from China to Christchurch but was happy to be in the studio for the afternoon and early to bed in the evening.
Yesterday afternoon was spent getting to know each other and deciding just what she needed to know about weaving tapestries. We worked on the concepts for weaving a couple of small tapestries while she is here. Today we completed the cartoons and for the first time Helen wound a tapestry warp on a warping mill and warped up my Vapapu two shaft tapestry loom. We used the 12/9 warp cotton at 10 ends per inch at a width of six and a half inches.
Riko Rickard, a young Japanese girl who is just getting back into weaving after having two small children, the eldest of whom has just started school, is coming into the studio two days a week and is setting up an eight shaft table loom to weave a double weave experimental piece. In the following photograph Riko is watching Helen adjust the tension on her warp.
Irene's painting is finished and studio things
Well, it took me a while but Irene's painting of the Pohutakawa blossom is finally finished. I really enjoyed working on this painting and have decided that now I have started working with the acrylic paints again I really should continue with it.
In the studio I have also been working on another woven transparency, this time using a drawing of a cactus plant that I had done some time ago. I had the drawing printed on to acetate, cut the images up and did four weavings on a monofilament warp weaving the acetate strips as weft. I layered the four weavings into a perspex box, putting them very close together so that the whole image showed as one work. Here it is. The photographs show the work from each side so that it appears almost as two works.