June 2017

July 17, 2017

This has been the month for exhibitions. I know this blog is very late but much has been happening as you’ll see in next month’s blog. In the meantime….

I have delivered my touring exhibition, Pattern – A Universal Phenomenon to Childers Art Space. It will be opened on the 11th July and will run till 3rd September. This will be the last opportunity to view this exhibition. Its tour of 4 years is finally coming to an end. CHARTS is an interesting space with a glass wall commemorating the fire in the Backpacker’s several years ago where many lost their lives. That in itself is an interesting memorial to see. I will look forward to seeing how it sits in the space at the opening. Check out CHARTS at http://www.bundabergregionalgalleries.com.au

Also on right now is Stitched Up, an exhibition on at The Lock Up in Newcastle. It’s a group show which includes 24 National and international fibre artists as well as some local input. I was honoured to be asked to participate.

DSC04890

A section of the gallery space with my work on the left.

It has been a fascinating project and, for this blog, I thought that I would share my thought processes on producing this work.

The exhibition is a collaboration with The Lock Up (www.thelockup.org.au) and Timeless Textiles (www.timelesstextiles.com.au). It marks the 150th anniversary of the Industrial School in Newcastle being established. (1867-1871)

In the four years the institution operated, 193 girls from two and a half to 18 years of age were admitted. They were taken from their families, if they had families, and incarcerated as a consequence of the Act for the Relief of Destitute Children, which targeted youngsters who had committed crimes, were destitute, neglected, delinquent, uncontrollable or living in the care of thieves and prostitutes. The Industrial School sought to educate them in literacy while also teaching them sewing and needlework, skills that would increase their chances of employment as domestic servants.(Timeless Textiles)

The conditions in the school were needless to say pretty severe and very much a reflection of that sort of institution of that era. The school became notorious because of the conditions and rioting.

As artists we were provided with the background information of the school and the case studies of some of the inmates. This research was done by Jane Ison. (nis.wikidot.com)

We were asked to select a girl and respond to the information to celebrate her life.

When I was reading through the girls’ histories I was struck by many similarities. Fate or Destiny celebrate the lives of Margaret Poole and Rachel Willis. The following is the information that I worked with based on the research by Jane Ison. Both are very much a reflection of life at the time of the Gold Rush and for a certain demographic of society. I found their backgrounds fascinating. Maybe you will too.

Rachel Willis

Father- Thomas aka William Willis (b 1810). Mother – Eliza aka Elizabeth, alias Mary Kennedy (b 1828). They married in 1844 and had 10 children: 5 boys and 5 girls. Rachel aka Margaret was the youngest, born 1860.

Thomas either died or had abandoned the family sometime prior to 1868. Her mother resorted to keeping a brothel. It is thought many of the siblings were fostered out.

Rachel came before the bench on 24 February 1868 after being taken from a brothel and was released back into the care of her mother as “the bench was not satisfied that the evidence as to the character of the mother” justified removing her. On 2nd July Rachel again came before the bench. By this time her mother and eldest sister were in jail for “keeping a disorderly house”. She was being cared for by a person named Dunn who had reported that they were unable to keep her but as she was taken from the house, the bench was unable to act. Two days later she was found entirely destitute on the streets. She was aged 8.

She was a resident of Newcastle between 1868 and 1871 when she was apprenticed to an older married sister. In 1878, aged 18, she married Mackie Wilson (1854-1942). They had two daughters and two sons with 1 son dying in infancy. She died in 1893 aged 33. Cause of death is unknown.

Margaret Louisa Poole /Pool

Father, Robert Poole (1812- 1872) and Mother, Mary Leonard (b. 1815) were married, probably bigamously, in 1852 in England. Robert had been married once before with 3 children. He abandoned his first family. Mary was a convict and had been married twice before and was widowed both times. She returned to England with her second husband after being pardoned leaving 2 of 3 surviving children behind and fostered.

Robert and Mary arrived in Melbourne as unassisted migrants in 1852. Three girls were born in Australia. Margaret was the middle child, born in 1855.

Her mother died in 1860. She was aged 5. The sisters were separated one apprenticed and one fostered to a step sister. Margaret was living with an associate of her father. Betsy Harvey is listed as a step mother.

Margaret was 12 when she came before the court in rags on 31st August 1867. She was” much neglected and half starved”. Her parents were described as “very dissipated characters” and Margaret was charged under the Act with living with two common prostitutes.

She was a resident of Newcastle between 1867 and 1870 when she was apprenticed to magistrate at Scone. In 1872, the family’s circumstances changed and she was re apprenticed.

On 26 January 1875, aged 20, Margaret married William Ison (1852-1936). They had 10 children with 7 surviving infancy- 5 of 6 sons and 2 of 4 daughters. Margaret died on 2 January 1887 in childbirth aged 32.

So how was I going to take this information and use it?

I decided that whatever I did, it needed to tell their story. The cloth that I would weave was to be a story cloth with words embedded into the actual story. It needed to be able to be read. The cloth also needed to represent age as this story did happen 150 years or so ago. It needed to include stitch as that was the skill they were taught; let alone the title of the exhibition. Ideally it should also reflect on all the girls who passed though that institution.

We were also sent a swatch of fabrics similar to what research had showed that they might use. Of course I wasn’t about to use a commercial fabric when I could make my own. But I did have some natural cotton that would weave fabric similar to calico. I had a starting point. I needed a second yarn that would not dye as I wanted to have some definition to imagery post dyeing.

I knew the finished dimensions as we were given those and that there would be two pieces. So I knew the size of each piece. I knew the yarn and therefore the number of warp and weft threads that I would be using. That’s simple maths. So then I knew that the “words” that I would use needed to fit into this. I needed something of around 210 letters and spaces that would use about 2200 weft rows. So I need to achieve a somewhat shorter version of their lives that would be used to create a weave draft.

In addition I wanted to weave in “stitching”. Some of this would be left in while some would also be used for woven shibori. This could then reference the fact that what happened in their lives created their life “pattern” in much the same way as aged lines on a face and body.

The following shows the fabric being woven. The story can be read on the diagonal in either direction. Note also the heavy cotton supplementary weft that will be used for woven shibori and that will create the dye pattern. (It’s easier to read the words on the fabric underneath.)

DSC04672 (600 x 400)

The fabric was then dyed. I have used natural dyes of various forms and my choice was influenced by “age”. The resulting shades of brown are similar to the notion of grubby aged cloth: the cloth from the streets before they went to the home as well as stained cloth found from times past.

The stitching threads were removed from the “figures” and some left in to define their edge. It also makes the fabric look more “aged”.

20170628_121950

Close up of fabric showing dye pattern, stitching and woven words.

20170628_121832

Artist Statement: Fate or Destiny

These shadowy humanoid silhouettes represent two girls who were inmates.

Was it predetermined by fate and their backgrounds that these girls would end up in The School. How much of what the choices they made with their lives resulted in what they became?

When I read the inmates’ stories I was struck by how many had similar stories. I have chosen two girls and have woven story cloths. Their stories are impregnated into the actual cloth. It can be read. The process of uncovering their stories equates with your search to read them.

Here’s the synopsis of their lives which can be read diagonally in the cloths.

Rachel Willis. Father- Thomas. Mother- Eliza. Father left or died. Mother jailed as prostitute. Rachel age 8 homeless. The school. Apprenticed 12. Married 4 children. Died 33.

Margaret Poole. Father – Robert. Mother – Mary. Middle child of 3. Mother dies. At 12 charged- Living with prostitutes- associates of father. The school. Apprenticed at 15. Married-10 children. Died 32.

The full research into their lives provides a more in-depth insight into their life stories.

These aged cloth represents life of a different era with different social pressures. Both of these girls were charged because of their contact with prostitutes. It was only by being charged that they then escaped their living conditions and were sent to the school.

Stitch is a skill that they were taught. In much the same way that these stitches have created pattern and texture on these cloths, did these skills have any effect on the direction their lives took? One hopes that The School, in spite of its history, gave the girls a chance of a better life.

The following show some additional close up images.

20170628_121950

 

20170628_121935

20170628_122140

20170628_122233

It has come to my attention that I have made the Top 100 Weaving Blogs. To check out who is in the 100 go to: http://blog.feedspot.com/weaving blogs/. I am delighted to be listed.


May 2017 #2 In the studio

June 10, 2017

The past few blogs have been exclusively about my textile trip to Laos/Cambodia earlier this year. Just because I haven’t been talking about what has been happening in the studio, doesn’t mean that nothing has been happening. The following are some of the highlights over the past few months.

Back in the February blog # 2, I wrote about Joan who was visiting Australia from Hawaii and extended a holiday to explore waving on a draw loom. She managed to get totally fascinated by the process and has since acquired her own loom. Now that is a great result!

I’m mentioning that because it also gave me the perfect opportunity to explore an idea.

Beside the draw loom (on right), I set up a countermarche loom so that it was a cross between a draw loom having long eyed short heddles at the front and a Laos loom with vertical storage at the back. Having the two looms side by side was an interesting juxtaposition. I did like the potential of weaving similar cloth on both looms. Over a period of time, I had noticed many similarities between the functioning of the Laotian (or any S.E.Asian loom) and the draw loom. This was my opportunity to explore what a hybrid loom could do.

Damask is being woven on the hybrid loom. I have 6 shafts set up for a 6end damask on the front and the stored pattern operating as the pattern shafts at the back.

As in conventional Laotian weaving, the pattern is picked up and stored. In this case however the block patterns are being stored. The stored pattern is then used in much the same way as a pattern shaft on the draw loom – raised for the 6 rows of a 6 shaft satin.

And just because I could do it, I also wove a supplementary weft pattern on the same warp. All the patterns that I have used are from “Lao Motif”.

I will return to this as there’s much potential and it’s such a fun challenge to do. However a group was arriving in the studio.

Every two years a group of like-minded weaving mates get together with the challenge of playing and exploring any technique or structure or in reality anything relating to weaving. There’s discussion and a whole lot of fun to go with it! It’s a highlight of a diary and something to look forward to. It’s been going on quite some time and we’ve had several. Sometimes everyone can come, other times there are fewer. This time it was my turn to play host. (Normally I have to go to USA or Canada). Three weavers came to Australia: Kathy, Jette and Bev. By chance they all decided that they needed to play with my Laos equipment. So there was one traditional Laos style loom and two countermarche looms with Laos vertical storage units.

Weaving mates from three countries: USA, Canada and Australia.

We all wove. Here are three “Lao” looms in action.

There was much group problem solving…..

….and fun. Part of the experience was the duet. They’re chalking up how many places (Towns, States and Countries) they can play together in.

Detail of some of the weaving

I got to play i.e. get around to doing, something that I’d been wanting to do for some time. Keeping in the theme of bands of pattern, I explored structures on my 24 shaft computer assist loom.

And at the end of their stay, I have even more potential for play as now I have three looms with warps for me to weave on. I can go back to my damask/supplementary weft (the original hybrid loom).

I also have the original Laos loom. I decided it could do with an adventure with a saw. As I am not using it any more with a warp in a bag at the front of a loom, I don’t need all that length.  I am using a western style back warp beam to store the warp. I have found that it is much easier to achieve even tension. All I need is a length to allow movement between the vertical storage and the front plain weave/ground shafts.

So saw in hand, it is now shorter and taking up much less floor space in the studio.

But I also have a loom with a ground of overshot. That was a careful bit of planning as now it’s so conveniently set up in time for a 5 day workshop: Beyond the Basics.

Ronda and Jan came to explore profile drafting and converting it into basic weave structures: 4 and 8 shaft forms of Overshot, Crackle, M’s and O’s and a combination of Summer and Winter and a simple lace. It was a very productive week and as well as going home with a whole lot of samples, they’d woven on several different styles of looms including the 16 shaft computer assist and had a portfolio of drafts.Here are some of their samples.

And I still had a bit of warp left on the Overshot/Laos loom. I have plans! I can weave a border with both a finer supplementary weft design in the style of Laos patterning and a larger overshot one.

Here it is with the pattern being developed. It is being woven upside down with these long floats to be on the back.

In addition to weavers working in the studio, I have had a bit of life on the road. My touring exhibition Pattern; A Universal Phenomenon had an outing to Moranbah. The exhibition looked fabulous and was extremely well received.

We even had journal making workshops with hand woven fabric covers in Dysart, Clermont and Moranbah. (Unfortunately I don’t have images from Moranbah)

But then Cyclone Debbie came and Central Queensland was flooded. Demounting couldn’t happen. The town was cut off. Eventually the roads got reopened and life returned to ‘normal’ for that community. I am pleased to report that while the town was flooded, no one was hurt. The upside was that the exhibition had an extended life of an extra month. Pattern has one last showing to complete the touring program. It will be in the Childers Art Space from 15 July to 3 September.

Coming up is another exhibition: Stitched up. I was delighted to be invited to be part of this exhibition. I will report on that process of producing that work and the background behind my concept for the work on the next blog. In the meantime here’s a link to the exhibition.

http://www.thelockup.org.au/whats-on/stitched-up


November 2016

December 3, 2016

The accolades continue for the High Court Judges new robes. The ABC has picked up on it and ran a feature. www.abc.net.au/news/…new-robes-for-australian-highcourt/8023708

Bill, Margaret and I got up very early to be in at the ABC studio for a 5.30 am radio interview. http://blogs.abc.net.au/queensland/2016/11/new-threads-for-australias-high-court-judges-designed-woven-and-sewn-here-in-southeast-queensland.html?site=brisbane&program=612_breakfast

I have also appeared in the local paper, The Bayside Bulletin and on page 2.

dsc03907

Maggie came from Townsville for a week’s tuition in double weave. She has a 4 shaft loom at home so we focussed on weaving double weave and related techniques on just 4 shafts. As she was familiar with double width, we started with that, refining technique and exploring variations before moving onto all manner of other double weave techniques. Here are some of her experiments.

maggie

dsc03916

 

At the same time that Maggie was in the studio, I also put on a 4 shaft double weave warp. I wanted to show that you don’t need a lot of shafts to weave a complex pattern. This pattern uses just 4 shafts.

dsc03917

After weaving the first runner, the challenge was to remove some of one layer creating a different look.

dsc03919

And to prove that it really did come from the same warp, here they are hot off the loom.

dsc03928

Sally is officially my Tartan Queen. Her latest warp provided 2 twill scarves (seen last month), 1 plain weave scarf and several kerchiefs in her tartan. After weaving the twill scarves, she cut them off and resleyed to complete the rest of the plain weave items.

sally

GOMA, The Gallery of Modern Art in Brisbane is turning 10. To celebrate this milestone, the gallery commissioned a sculpture by Judy Watson of a giant fish net. This sculpture sits beautifully at the entrance to GOMA. It was intriguing to watch people approach this very tactile sculpture and realise that the net was actually bronze.

 

“Sugar Spin: you, me, art and everything” marks ten years of GOMA, inviting us into a playful space of excess, colour and abundance. Drawing together more than 250 works, the exhibition celebrates the creative depth and diversity of the Collection writes the exhibition curator Geraldine Kirrihi Barlow. Artlines (QAGOMA publication) Issue 4, 2016. I am yet to explore the full exhibition and can’t wait to see what is included, but I have spent time in just one small section: Heard by Nick Cave. To mark the start of festivities, those attending could experience Heard as a performance as well as a static exhibition. Heard by Nick Cave (USA) (2012) is currently proposed for collection through the QAG/GOMA Foundation. I have long been aware of Nick Cave’s work and to consider that we will have a whole series here in Brisbane is quite amazing to contemplate.


August 2016

August 31, 2016

This month celebrates all things weaving and the fellowship/friendship of weavers. It was the month for Convergence and travel to the USA and Canada.

I arrived at 1.00 in the small hours of Monday morning after a delayed stopover in Dallas. My friend Judith greets me and of course we have to celebrate.

 DSC03598

It was also time to do our biennial scarf exchange. This challenge started by dying a warp using a starting point of mid-blue. This warp was then separated into 2 lengths with one length being swapped. The warps were then combined. We could weave it however we wanted. I think this challenge was in some ways the most challenging yet as the two warps that were to be combined ended up being very different. Here’s what we ended up with.

1

 Now we both have an additional 2 scarves to add to our Judith and Kay collection. Their first outing: the fashion parade at Convergence. And as always they’ll be worn together.

 2

I would have to give an award to the most dedicated class of weavers to this group. There was a fire evacuation in the convention centre. No problem: we’ll just do a bit of theory while we wait.

DSC03602 T

I celebrate the class results of Ties: decorative, functional and unconventional.

And I celebrate the results of the East Meets West Class.

 And the Sotis class.

But Convergence also means getting to see exhibits: The fashion parade with the winner’s circle and details of cloth.

The yardage exhibit.

Convergence is also about shopping. All the loom makers were there and an interesting mix of other traders.

Y shopping Outside the convention centre, I came across this unexpected delight.

And then Convergence was over for another two years. I wonder where it will be next time.

Then on to more adventures and I was very fortunate as I got to go and visit Kati and of course get to see her studio. As we drive in their driveway this is what I am welcomed with.

 IMG_1035 (600 x 450)

IMG_1034 (600 x 450)

And from there onto Canada. This time I get to stay with Jette.

I also get to teach. And here we celebrate weaving East Meets West with the Huronia Guild: weekend 1

 And also celebrate the weaving of the weekend 2 group.

What does one do when two weavers get together? Well obviously have a grand time but sometimes it’s also a chance to play.

To all the weavers (and others) I spent time with and the friends I caught up with, it was a grand trip. Thank you!

 


July 2016

July 28, 2016

My touring exhibition is having another showing. This time it’s at Gatakers Artspace in Maryborough. It is very interesting seeing how the exhibition interacts with different spaces. Gallery 4 at Gatakers is a large open space with exposed beams. That beam provided the perfect place to hang The Hand. Here are some general views of the exhibition. The staff at Gatakers and in particular Anne Brown who helped hang it were great to work with.

DSC03571

DSC03572

DSC03574

DSC03577

In conjunction with the exhibition was a 5 day workshop. Three students, Pat, Isobel and Karen took advantage weaving for the full time, while Ann could only come for four. It was a great place for a workshop: plenty of light and plenty of room. It was great to work with them. As well as preparing warps, they achieved a lot of weaving.

IMG_0797

Ann explored double weave in a sampler. Both layers were the same colour so it was challenging to keep track of what layer was where without reference to colour. Here’s her sample.

IMG_0817

Then Ann decided to use the rest of the warp for a scarf. But first sections of warp were removed to make a more interesting textile. There will be warp and weft floats as well as double weave layers.

IMG_0823

Karen explored 8 shaft twills. She’s got some interesting colour combinations and structures happening and some that she’s designed herself.

IMG_0801

Pat also explored 8 shaft twills. As a beginner weaver she’s having a lot of fun exploring colour and pattern.

IMG_0845

Isobel is also a beginner weaver. She’s working with four shaft twills.

IMG_0843

IMG_0839

Pat, Isobel, a friend and Karen celebrate the week’s achievements.

In addition there was an opportunity for people who had never woven before to come and weave for a day on pre-warped looms. All three are keen to continue. Here are these new weavers with what they wove in one day.

IMG_0851

Gloria

IMG_0850

Stephanie

IMG_0815

Susan.

It was a wonderful week where much was achieved as well as being delightful to spend time with weavers, both beginners and the more experienced.

Queensland Spinners Weavers and Fibre Artists ran a beginner weaving workshop over a weekend. There were three participants. They learnt how to wind a warp, dress a loom and weave. Just look at how much they produced in two days. They certainly went home with beautiful scarves; all very different.

IMG_0873

Tegan, Sally and Leonie with their scarves.

My friend Helen came for a visit. Of course she was going to weave. There was a spare morning so she had the opportunity to try out a draw loom. She did have fun!

IMG_0874

 

Sally stated weaving last month. For her third warp she decided to weave a tartan silk scarf as a ‘proper project’. In three and a half days she completed a beautiful scarf.

DSC03582 (600 x 400)

DSC03584 (600 x 400)

DSC03581 (600 x 400)

My exhibition will come down in a few days. It is quite amazing to think how quickly this month has flown.

Finally I’ll share this image. One of the bonuses of having the workshop and exhibition at Gatakers was the opportunity to stay at one of my favourite places. Here’s a sunset at Burrum Heads.

IMG_0787


April 2016

May 1, 2016

DSC02953

This scarves came off the loom at the start of the month. It’s one of a pair.  Woven in 20/2 silk they combine some weaving structures that are used in South East Asia but with are woven on a 24 shaft loom as opposed to a back strap loom.

Contextart is an annual 6 day textile event run in the Blue Mts of NSW at Easter. Firstly however, on the drive down to Contextart, I stopped off in Tamworth and was lucky to see the retrospective of Vivian Chan Shaw’s work.

At this year’s Contextart, my class focused on Ties: Functional, Decorative and Unconventional. The students did extensive sampling exploring many design approaches. They were a very diverse group of 10 which certainly added to the experience for all. Here’s a snapshot of what they did.

IMG_0543

They calculated, wove and analysed.

DSC02999

DSC02992

DSC02994

DSC02995

Here’s some of the work on the loom

DSC02988

DSC03002

DSC03006

And finally, the class collection. What a lot of weaving was done in 6 days… and what a lot of theory. I am delighted at what was achieved. Well done everyone!

DSC03013

For next year’s event visit http://www.contextart.com.au

Kaz Madigan joined me for a very exclusive class. She spent 5 days in the studio exploring warp faced weave structures inspired by South East Asia. As well as covering a lot of ground, it was a very enjoyable week.

DSC03039

DSC03041

DSC03044

DSC03045

There are two other highlights this month.

Firstly, Trood Newman’s 16 shaft Noble loom is finally working. I acquired the loom while at Sturt in the expectation that my students would be able to have the experience of weaving on a computer assist loom. Till that point it had left Trood’s place in a horse float, stayed with Pat for a while and then to Sturt. It was dead and I contemplated and tried various solutions. Eventually it came home. I still hadn’t given up. 18 months later, then a visit to Ian, a wizard with a soldering iron and hey presto the electronics worked. He’d resoldered all the connections. I then came home put the loom together, connected it all up and “Trood’s Loom” is functioning beautifully.

IMG_0636

Who would believe a little bit of plain weave could bring such joy!

IMG_0634

With the plaque added. It was done 18 months ago when I started attaching plaques to all the looms in the studio. I had faith!

IMG_0638

Paw Nay Thah came to the studio. The visit was arranged by Meredith, the youth Settlement Co-ordinator with MDA Qld. Paw Nay and her family have been granted asylum from a refugee camp on the border of Burma and Thailand. She is from the Karen, an ethnic minority group from Burma (Myanmar). Meredith had asked “What would make you happy?” Her reply: to weave traditional fabric.  Meredith had no experience of weaving so she came here to see what was involved and if it could happen. Paw Nay arrived with the biggest grin. I got shown some traditional cloths and we discussed back strap looms and what is required to make them. It’s very fortuitous that I brought one back from Bhutan. It’s much easier to explain if there’s one to look at. The result: Meredith knows what is needed and Paw Ney will weave. It was such a fun and heart-warming experience.

Meredith and Paw Nay examine some of the textile’s in Meredith’s collection. She had been given them by some of the Karen ladies. Paw Nay can weave these.

DSC03016

Here’s a close up look.

An unmarried woman’s blouse. Note the fringing and the supplementary weft and twill weave structure. The fringing may be added in. In this case it has been added above the hem.

DSC03018

The reverse side. This was interesting because the yarn is carried from one motif to the next.

DSC03022

More detail

Another unmarried woman’s shirt and detail.

A married woman’s shirt and detail. It is much plainer. The reverse side doesn’t show as much pattern. This had a double row of fringe: one a the end of the warp, the other a couple of cm above and inserted in the weft.

DSC03029

Thank you Meredith for coming, bringing Paw Nay and a wonderful experience. Long may she weave!

 

 

 

 

 


July 2015

July 30, 2015

The major event this month has been the launch of my school with a five day workshop. Students came from far afield: Bowral, Wollongong, Northern NSW, Mt Tamborine. They were a very diverse group with a range of experience, all coming together for a great week of weaving fellowship and fun.

Note! I have updated the list of classes available till the end of January. Please check out the page at the top under “Kay’s Weaving School”.

Day 1 saw us gathering, discussing projects and preparing warps. Some used warping boards, others mills. Some prepared inside, others outside. It was suddenly a hive of activity that never let up till the very last moment of the very last day.

1

Day 2: They threaded the looms.

2

 

And by the end of day 3 they were weaving.

3

 

Day 4: By late afternoon both Bronwyn and Joan had finished their projects. It was pretty much a dead heat in who finished first.

6

Joan cuts off her fabric for a vest.

18

Joan’s fabric has a mixed coloured warp woven in an 8 shaft twill. This photo is of it after it was laundered the following day.  There was much discussion which was to be the “right” side.

7Bronwyn cuts off her silk scarf. It has an interesting progression of pattern from a plain end to a more heavily patterned one. That night she twisted the fringe as she wanted to dye it.

So what were they going to do the next day? That night I set both of them a challenge by rethreading their looms with warps similar in threading to what they had been working on. The challenge would be for them the next day  to experiment with pattern diversity using the same treadle tie up as they used for their project.

Day 5: Bronwyn dyed her silk scarf using a clamped shibori technique.

12 a

12

And wove with the same twill threading, this time experimenting with woven shibori. She gets to take home the piece to pull up and dye. She used fishing line as the supplementary thread which is why it is difficult to see.

20

Joan wove on another mixed coloured warp this time in shades of pink cotton, experimenting with variations of the same treadle tie up.

21

 

Sharon finished her knee rugs by mid day and spent the rest of the time plying fringes. She has two beautiful and very different knee rugs from the same warp, one in plain weave, the other in twill.

11

19

Vilasa’s goal was to learn about countermarche looms as she had one at home that hadn’t been used. As well as going home with a greater understanding of the loom she has a very nice collection of 4 tea towels in different effects.

13

14

 

Belinda completes a long series of ten linen napkins. They will be beautiful when they are washed and the lace weave opens up.

15

16

It was an amazing 5 days. I am so very pleased with how much each of them achieved. It really was a lot of fun! The diversity of projects allowed for learning covering a wide range of techniques and design considerations. I thought I’d share some comments. They perhaps explain what made the week so “Special” and for me lived up to the title I’d given it.

So Kay Faulkner is not only a master weaver but also a superb teacher who can keep 5 different students on 5 different looms energised and learning over a week long class. Each of us crossed our own personal hurdles: weaving yardage for fabric, learning how to set up a loom, how to blend yarns in the warp and or weft, how to change the patterns woven part way through a length, how to do clamped resist shibori.   I wove 10 table napkins in linen, in two different huck-lace patterns, finishing on time on Friday afternoon, despite a stressful moment on Wednesday when I discovered many flaws in my threading through the heddles and reed. Kay showed me how to fix them, and set me the target of 5 napkins a day. So I completed a major project ( for me) in a week! We were a great group, funny and lighthearted in the breaks and in earnest at the looms. Kay is a generous and organised teacher, with the resources to take each of us up a step in skill levels despite not all starting at the same level.

 It was a great week, one I highly recommend to any weaver wanting to improve existing skills or acquire new ones.

Belinda Stafford

 

Thankyou Kay  for your patience in passing on your knowledge and for making weaving so”understandable” and enjoyable and not being afraid of.

Sharon .

 

Many thanks for accepting me in your inaugural ‘Special School’ week of weaving. From the moment you opened the front door of your studio with such a welcoming hello! and a large smile I knew I was going to have a wonderful experience. Your range of floor looms is nothing short of amazing and the studio space airy, large and very pleasant to work in. This was my first experience using a floor loom. The self-contained kitchen facilities for preparing lunch and dinner were much appreciated as this enabled me to have meals without leaving the studio thus enabling extra time for weaving. Your experience running weaving workshops certainly shone through with all 5 participants finishing their projects in ample time to sit back and discuss the finished project in depth with you. For me personally I cannot believe I actually wove 3.5 m of a beautiful twill fabric for a vest. Not only was my finished fabric beautiful on and off the loom it blossomed once it was washed and steam ironed at the studio. I cannot thank you enough for your guidance in selection of yarn and structure for my chosen project. Your teaching skills, knowledge and patience were exactly what I required to advance my weaving skills. I am now confident for the first time to wind a warp, dress a loom, select structures and yarns suitable for an end use and weave a finished project on a floor loom. Your home cooked treats for morning and afternoon tea just topped the whole experience off for me. Last but not least many thanks for adjusting my vest pattern for me.

 I have spent the day since my return home searching the internet for the best floor loom for me and I will run my findings past you when we next meet at your weaving studio in the near future. Once again so many thanks. PS I have just completed putting a warp on my table loom and just now sampling structures in twill.

Joan Roberts

 

What can I say! A fabulous week weaving with Kay at her inaugural weaving school! Kay is a fantastic teacher of weaving. Nothing is too much trouble for her. She is methodical, diligent, hard working and certainly a master weaver. Met some great ladies from the Gold Coast Spinners & Weavers group. Also renewed acquaintance with Belinda from Bowral, New South Wales.

Bronwyn Hutchins, Wollongong, Australia

And then I had to come down from the high of that week. Right in the middle of that week, the local paper came and photographed what was happening. The article appeared in the paper.

26And there was a flying trip to Emerald to take down my Pattern: A Universal Phenomenon exhibition. From this….

24to this and in the car in 75 minutes. I think I broke all records.

25

I would like to express my thanks to all who were involved in hosting this exhibition at the Emerald Regional Art Gallery. This is a beautiful space.

I have had some opportunity to continue exploring weaving on the Laos loom project. There is great enjoyment and in some ways it is a liberating experience to weave in the great outdoors. BUT it is winter and there were some days when it was just way too cold to play. And then it blew and no way was I going out in that. And then it rained. I did go and have a look but everything was damp. So I have also been discovering the down side of weaving on the patio. However, there were a couple of glorious days. So the story for this month….

27

Yes I have woven! The tension knot (from last month’s blog) works fine. The improvised light treadles of a couple of lengths of pine function quite well though I discovered that they needed to be attached so that one was slightly off centre to the left and the other to the right so that they stayed separated. I was relieved to see that the shafts still stayed level and the swinging free beater works just fine. I can even weave parallel to the front beam!

I was intrigued by the swinging beater and so had a go at setting one up on the countermarche loom. That’s easy as it has an overhead beater and I just removed the reed and strung it up with a couple of cords. Here it is just after I’d taken the reed out of the beater and before I removed the frame. I’m considering applications. It is remarkably light to weave with. There’s no way you could beat heavily with just this. It moves. I’ve found the one from the traditional Laos loom with it’s frame to be much heavier and easier to control.

23

On a jack loom, I had to construct some sort of side support for an overhead rod. A trapeze that I use for warping, a couple of stockings to hold it tightly in position and a rod to suspend the reed from work just fine. Yes I’m playing , proving that it can be done and one never knows what comes out of a bit of play. A wider reed makes for easier parallel weaving.

34

Back to the Laos loom and real weaving. I have discovered some facts. I have discovered that there is a lot of loom waste. The tension knot takes well over 50 cm of warp just to do the knot. Unless there is some means of spreading a warp, there needs to be quite a length from the front of the loom to the back to enable this to occur. In Laos I only saw 2 instances of a weaver employing a ‘spacer’ at the top of the loom to do this. This explains why the looms are so long. I have inserted two sticks behind the vertical storage to help spread the warp. Because the loom is so long it has little effect on the height of the shed when weaving. I’m calculating that the amount of loom waste as it is now is probably at least 2 meters.

28

So after weaving 5 cm or so, I considered my options. I would soon run out of warp if I continued. I do want to maximize the experience of using that vertical storage system.  I had proved that I could weave on it as is. This amount of loom waste and the time it takes to set up the loom even without setting up any vertical storage, sure makes sense to wind very long warps. How to minimize loom waste? I got out the trusty drill and moved a few bars at the back and converted to using long ties and the warp beam that I’d left on the loom. Now I have a more conventional loom waste and can weave right up to behind the vertical storage.

31The loom now looks more like something Western weavers are used to seeing. At the same time I thought I’d reconstruct the beater and put the reed into it. Note the stockings securing it in place. I had to move the vertical storage forward to be able to use the warp beam where it was. The loom is now a mix of East and West. Of course in all the process of winding the warp onto the back beam without cutting off the original weaving, there was some difference in tension, though much less than one might expect. So after retying the knots the loom is again ready to weave. The original weaving is still there but of course now distorted. The second pink line will be the beginning of the next adventure. Next step will be leaning about vertical storage systems.

32Lastly: Joan’s pink warp needed to be woven off. I wanted to be able to show students (and I will be seeing Joan in a couple of weeks) that there is a wide range of diversity achievable from using a given set of parameters. I have used the same treadle tie up (8 shaft twill sequence) as Joan had with the addition of plain weave to weave this collection of towels, placemats and serviettes. Apart from a huge diversity of twills achieved simply by using the treadles in different sequences, the twill sequence can be combined with plain weave as a supplementary weft in various styles. All have elements of Joan’s original treadle tie up.33

One day a week classes have started on Tuesdays. There are 3 students with one totally new weaver and two “beginners”. After 2 weeks the looms are threaded and in one case weaving is well underway. It is always exciting seeing weaving happening.