January 2019: Studio class, vertical storage and getting ready for the exhibition.

February 3, 2019

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A reminder: This exhibition celebrates 20 years of woven shibori. I have invited Catharine Ellis to celebrate with me. All weaving is completed for the exhibition. The exhibition lists, artist statements and didactic panels submitted by both Catharine and myself. It’s rather a relief to be at this stage.

Redland Art Gallery has the exhibition listed in its exhibition guide.

RAG Exhibitions Booklet 2019_Kay Faulkner and Catharine Ellis (3)

The studio class as usual for this time of year was Linen and Lace. This time of year is usually perfect for linen. It was, though I suspect, hotter than usual. Unlike other years this group of four weavers all decided that they wanted to work on their own projects. Three had completed the course in previous years and wanted to revisit a structure, the other wanted to pursue a personal challenge. This meant that I did not need to set up a multitude of looms in different structures.

Maggie has the perfect solution for jet lag or so she says. She arrived in Australia from the UK on the day before the class. She treats attending a class in the studio as a gentle way to recover. Her project was to weave a series of napkins in linen and 3 end Huck. Her design was a modification of a studio hand towel. Her ongoing challenge was to weave every one differently. On the last day she wound an extra warp for 4 more napkins to take with her to be threaded with the same draft so that she could continue her challenge. It was well tied up as it will travel with her for her stay here and then get put on her loom when she goes back to the UK.

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Kerry is a new student to the studio. She had asked whether she could use her single 16’s linen and weave in Huck. She had woven with this yarn at home and had some difficulty with it. We started by designing her project. The warp went on and we soon saw that there was potential for warp fraying. The solution was to weave with a temple. This posed no problems as she was used to doing this. The other part of the solution was the use of sizing. Kati Meek has a recipe in her book, Warp with a trapeze and dance with your loom. It is amazing. It’s very gluggy.

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The sizing was put on with a sponge working in only one direction. The warp was also woven as soon as it was put on with no need to wait till it dried.

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Weaving with a temple and the sizing meant that this warp could be woven with no fear. Various treading drafts were developed. This is an image of her project being woven. Unfortunately my image of the full piece isn’t wonderful so I will not be sharing what she achieved. However it is a beautiful fine piece of linen weaving.

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Vilasa wanted to explore design, Huck lace and if time permitted Bronson lace. As she spins her own cotton, she put on a cotton warp as she wanted to weave with something that was relevant to her weaving at home. Vilasa spent time on drafting every day. She became expert at designing with only horizontal or vertical floats or both together. She accepted various design challenges. In the five days she wove 6 of her own Bronson Lace designs. This length of weaving is destined to be a panel of a shirt. Here are 3 of her designs.

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Jan had intended weaving a fabric length in turquoise linen. The yarn didn’t get organised so she wove another project that she had planned for later in the year. She had some hand spun wool that she wanted to use for a vest. The vest pattern is based on an existing garment. She had decided that the fabric should not just use hand spun as otherwise it would be too bulky and too heavy for her use. Rather, the hand spun act as an accent yarn as it had wonderful lumps and bumps. To achieve its potential she was going to combine it with silk and a commercial wool.

Jan had acquired some 20/2 silk, natural in colour to be dyed for the warp. Anyone who knows Jan, realises that she loves turquoise, greens and blues. In fact here is her rag rug that she had brought back finished from the woven shibori class in November.

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But I digressed. The silk had to be dyed. So that she didn’t end up with dyed silk left over from the warp, she wound the warp, secured it well and then dyed it. She also chose to paint a skein in various colours that would work in with this green and her weft colours. The warp went on smoothly. Jan’s challenge has been to weave the 3 yarns and to work out the best way to maximise the characteristics of the hand spun wool and very pretty multi-coloured silk. The yarns are to be used randomly so that there is no definite stripe repeat. She is still working on this. She probably needs an extra half a day to finish and I will certainly look forward to seeing this off the loom and made into that vest.

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I had put on an extra linen warp on a loom to accommodate two requirements of this class, just in case there was an opportunity for it to be woven on. Vilasa had expressed a desire to also explore Bronson Lace and Kerry was wanting to work in singles 16 linen. Kerry enjoyed time weaving on “good” linen. Maggie wove a strip to be used as a book mark while Vilasa of course developed her own design to be woven. Now that she understands the principles of horizontal and vertical floats, this was an easy transfer to another lace structure.

There was left over warp so I got to finish it off. Yes, more hand towels for the studio. Both employ the same block design within a lace weave frame. One has the blocks in lace, the other as a supplementary weft pattern.

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During the week, I also took the opportunity to get a loom dressed and ready for some play with a loom and vertical storage. The students were interested to see a frame become a loom. I was asked: Where’s the beater and where are the treadles? The loom to start with was just a frame.

What were my objectives in this project? In all my previous times of using a loom with vertical storage, it had always been positioned at the back of the loom. In Cambodia, I had seen storage, though horizontal behind the beater and in front of the shafts. This link should take you to the appropriate blog. Scroll down to see images of a loom with horizontal storage. There’s also a video of the loom being used.  https://wordpress.com/post/kayfaulkner.wordpress.com/4200

By positioning it here, I would be able to manipulate the sticks or whatever I wanted to store the pattern with more easily. But what would be the repercussions of having it here. I knew from past experience that when the treadles are not heavy or when long eyed heddles are used, movement of the stored pattern was possible to achieve while plain weave was woven. The pattern could be kept engaged and ready to be used. Logically I knew that this would not be possible with the pattern in front of the heddles but could some compromises be achieved?

I was also wanting to see if I could weave Bronson Lace- well it was the week of Linen and Lace! To achieve this I needed the warp threads to be used singly through the storage system. Traditionally in S E Asia there are doubled threads used here. The warp is usually very fine. I’m about to change a lot of things.

I started with just the dummy warp in a vertical storage.

So I began by winding the warp and threading it through a reed. I needed one end per reed dent.  This would allow me to keep each thread in sequence and I could identify a single thread when it came to picking up the design for storage.  I could accommodate a cotton/ linen yarn (approx. 16/2) singly in an 8 dent per cm (20 epi) reed. It was my finest “western” reed.

Then I knotted one cotton/linen warp (natural colour) to 2 ends of dummy warp (blue) to align with those in each long heddle. This will allow each thread to be raised independently. Everything has to be kept in sequence. So far all this could be accomplished off the loom. In this image note that the cotton/linen has been threaded in the reed before being tied onto the dummy warp in the heddles that make up the vertical storage unit (white).

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To thread the heddles on the shafts, I put the warp temporarily back to front on the loom. I could not access the back of the loom easily so it had to be back to front- temporarily. The reed and vertical storage were temporarily suspended in the loom frame purely to facilitate threading the heddles on 2 shafts. Here the two shafts are on the far left hand side ready to be threaded. The wooden clamp behind the beater holds the threads securely.

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When this is done, I have the warp threaded though heddles on 2 shafts, then  the vertical storage and then the reed with the bulk of the warp behind this.

Now to put the warp on. The total bundle is turned around. The reed is put in a beater. The vertical storage system suspended in its correct position and the shafts suspended. Treadles are attached to the shafts. Normality returns for my weavers with shafts behind the beater though with the storage between. The warp is pulled through and wound onto the back beam. I am ready to weave.

I want to weave Bronson Lace. If you understand the mechanics of the structure and have this loom set up so that I can choose an individual thread, I can manipulate the threads to achieve my goal.

This is a basic draft for a conventional loom. Using this draft it would be possible to pick up a design by selecting from shaft 3 and adding it to shaft one.

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Theoretically I can make my 2 shaft loom weave Bronson by storing the equivalent of shaft 3 on the vertical storage loom. In a 6 thread sequence the second and fourth thread will be stored. I will store this selection in the top of the storage unit.

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I will be able to use this stored selection to choose pairs of threads for each Bronson Lace unit. This stored selection will go in the bottom part of the storage unit. Here are two rows stored on bamboo lengths. They are stabilised by inserting the ends into some texsolv cord.

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Once I’m ready to weave for a repeated design I’ll be able to move my pattern from the bottom to the top and back again depending on the number of repeats.

This is my graphed design.

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This sequence shows the selection process. The required threads are moved down from the stored selection. All pairs of threads are raised.

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The design is selected according to the graph.

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This pattern is transferred from the front of the loom to behind the beater and onto a sword. I have covered how to store a selected pattern for a vertical storage unit in previous blogs but as it has been a while, here is a reminder.

All the heddles from the vertical storage are brought forward.

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The sword turned on its side. This achieves different tension for those threads that are either side of the sword.

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By manipulating this tension, the threads that have been picked up at the front of the loom can be stored vertically. A bamboo stick  or dowel is inserted into the gap where the second sword now is.

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As each pattern is stored, the unit of Bronson Lace is also woven before the next pattern row is picked up. Here the repeat is nearly picked up and woven.

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In essence the weaving process for each graphed pattern row requires 6 rows of weaving.  Weave a row of plain weave, then the other plain weave row + pattern, repeat twice. Then weave alternate plain weave rows. The first row of plain weave should include the pattern warps. This is a very similar process to conventional pick up on Bronson Lace but with the facility of storing your design.

For this table runner I elected to do just one repeat. It suited the dimensions that I required. However having the facility to store this long repeat is certainly beneficial.

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As an aside, this pattern would require 36 shafts to weave- another benefit of this style of loom. There will be more on weaving on this loom next month. The same pattern will be interpreted into other structures and more.  Here’s a sneak preview.

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The next studio class will be in March (18th-22nd) on woven shibori to coincide with the exhibition.

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December 2018: More on the work that will appear in the next exhibition.

December 30, 2018

Research has taken me in several directions that somehow have influenced my work. While you don’t get to see finished pieces, I will share research and thought process that I have used.

I have become hooked on visiting Trove, the National Library of Australia web site where I can trawl through old papers. www.trove.nla.gov.au/newspapers. There you can select your choice of state and a whole lot of newspapers come up. Because of the time line that I’ve been researching, I’ve been looking at three: Brisbane Courier (1864- 1933), Moreton Bay Courier (Brisbane 1846 – 1861) and in particular, The Queenslander (1866-1939). It is a fascinating way to pass a lot of time. I can find births, deaths and marriages, a whole lot of classifieds and some interesting articles. I even found one on earth closets (Saturday 10 Feb 1866 pg. 11) I have been caught up in looking at page one and births deaths and marriages.

A look at The Queenslander for 3rd March 1866: page 1, Family notices, provides a typical style of presentation. I don’t always find listings for this area. It’s a bonus when I do.

Please take note of the wording. It can give an insight into the status of women. It also reinforces the perception of the invisibility of women in the mid 1800’s, a theme that I began in the October post.

Births. These are two notices that follow a standard format.

Strachan- on the 26th February, at Cleveland, Mrs JW Strachan of a daughter.

Grenier- On the 26th February, at her residence, Mrs G A Grenier of a daughter.

And then here’s another standard format one that really reflects on the importance of women. It is not unusual that “the wife of Mr………………..” is used. But this one also lists what he does.

Smith- On the 23rd of February, at her residence, Duncan’s Hill, the wife of F. T. Smith, builder of a daughter.

Marriages

Here’s one for my area:

McLeod-Gray On the 24th February at Cleveland by the Rev Lacy H Rumsey, M.A., Edward McLeod, Esq of Cleveland, to Hannah, widow of the late Walter Gray Esq of Ipswich.

Deaths

There were 6 deaths listed: 4 children and 2 women. Again here are 2 typical formats. Sometimes the wife gets listed in the death of a child, while at other times there is no mention of the mother. It is sobering to read of the child’s age in the mid 1800’s.

Bartley- On the 1st March, James Norman, youngest son of James and Mary Ann Bartley, aged 12 months.

Hawkers- On the 1st March at the Military Barracks, Emily, infant daughter of Sergeant Hawkes, 12th Regiment, aged 22 days.

And then one contemplates how life has changed. Thank goodness for improvements in medicine and medical practices. Thank goodness for improvements in the status of women and thank goodness for the things that have made daily life that much easier. Progress indeed!

When I first started spending many hours in the Cleveland Library I came across old maps and references to roads.

Early white explorers often followed aboriginal tracks that later became roads. The current Mt Gravatt- Capalaba Road is one such example.

Before there were roads into this area, supplies had to come in by boat, a very treacherous undertaking. There were many instances of boats being stuck or overturned. At one stage Cleveland was identified as becoming a port. Squatters coming from Warwick area through Cunningham’s Gap were keen for it to be a place to ship wool from, until there were one too many mishaps. An early explorer, Alan Cunningham had an 1829 sketch that showed a “road”.

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This 1861 map shows both “Old” and “New” Cleveland Road and identifies the “road” as being “a line of trees marked on either side of the Road- being one chain long”. Both roads are still in existence. Over time roads were improved. Bridges built over creeks that needed to be forded especially in times of flood. Drays, mail coaches pulled by horse and bullocks were replaced by early cars. Early settlers required roads.

This drawing of early roads came from a publication “The Cleveland Roads to 1900” and shows how Cleveland was connected to Brisbane.

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The roads of course brought more settlers to the area. Progress came.

Of recent time there has been much discussion in the news about development in this area and the need to allow for growth of more people and the ensuing impact on the environment.

And again one reflects on what we call “progress”.

What can I use to symbolise progress? What can I use to symbolise “development” and to identify the mark that both early development and those who came after have left on the land?  There seems to be a link between progress, roads and thereby tyre tracks. Tyre tracks are also impermanent: they can be washed away or covered up by whatever comes next.

Then the fun began! For inspiration, I collected images of tyre tracks and played with printing tyres. Sometimes one just has to play to incubate ideas.

Bike tracks on the beach with a delicate pattern made by a small crab.

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Car tracks in dried up mud.

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A print from a car tyre. My son just shook his head over what his mum sometimes gets up to. It was his tyre.

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This led me to thoughts of developing profile drafts using the word “progress” and to use this to replicate a tyre print format. This is some developmental work.

 

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This is detail of the woven profile using two tie unit weave or Summer and Winter. It’s such a great structure for weaving imagery. How this sits in the whole piece will be unveiled later. At this stage it’s very difficult to identify the word, progress. I guess you sometimes just can’t go back in time.

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Lastly, another bit of experimentation. This again links in with where I live and it is in a very physical way. The Redlands is named that for a very good reason. It has red dirt. Originally all this area was productive farming. What was once prize agricultural land is now covered in housing. Now there are just a few isolated farms in the middle of suburbia.

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I have been experimenting with mud dye. It might be interesting to add this to my story. Here it is applied to a sample of woven shibori and then undone. Fresh soy milk was used as a binder.

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Isn’t it a glorious red brown? Base fabric is a cotton warp and linen weft.

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Eventually all these separate threads do come together. All will be revealed in March.

parallel title        An exhibition celebrating 20 years of woven shibori with Catharine Ellis. 10th March- 14 April 2019, Redland Art Gallery.

Classes begin in the New Year. In just a couple of weeks there will be Linen and Lace. Check out the rest of year’s classes here.


November 2018: Studio classes including woven shibori and continuing behind the scenes for my next exhibition

December 2, 2018

This month’s studio class was Woven Shibori.  Barbara, Ronda and Judy worked on class projects in a variety of fibres, structures, effects, warp and weft shibori, in fact a whole range of techniques that could be fitted into 5 days. Jan worked on her own project. She had attended last year’s class and wanted to extend that work.

Here are some images from the class. It was a very successful week. Sometimes students chose to weave a project from a warp. On others they chose to explore a variety of approaches and completed a sampler. The choice was theirs. As a result they went home with a collection of samples and projects and let’s not forget a whole collection of weave drafts.

Weaving: A variety of looms used including the draw loom.

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Pulling up.

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Dyeing: watching the magic of indigo.

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Undoing:

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The results:

Indigo.

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permanent pleating (not the bottom scarf).

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the acid dye bath

 

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Jan had to leave mid-week. Luckily she had finished the weaving of her rag rug but will return at a later date to finish the shibori process.

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One of the things that was considered in Colour in weaving, the October class, was the repeat that happens when yarn is commercially space dyed. We often pick up cones of yarns that look interesting and then wonder what we are going to do with them. The length of the repeat on this cone of space dyed yarn just happened to nearly match the width of a left over warp. So here was an opportunity to weave a space dyed yarn as weft ikat. As this was a shibori class I also wove it with a resist.

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Once the resist was pulled up, the fabric wanted to curl due to the resist being unbalanced in float length. So I worked with this, wrapped it around a rope and bound it before dyeing.

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Of course it ended up in the indigo which of course it was always going to overwhelmed it. I must admit I do like this fabric much better than the original because that red, white, black ikat is so subdued.

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Upcoming studio classes for 2019. All classes are limited to a maximum of 5 unless otherwise identified. Details under Kay’s weaving school.

21-25 January 2019          Linen and Lace.

18-22 March       Woven Shibori

13- 17 May          From a twill threading

10- 14 June         Special- own choice.

9 – 13 September            Colour in Weaving

21-25 October                   Weave a floor rug (class size limited to 3)

18-22 November              Double weave and friends

9-13 December                 Special- own choice.

BYO Loom one day a month class will continue next year.

Marja has been coming for the past 3 BYO loom classes. She had never woven crackle, so here was the opportunity to explore. As well as weaving a project a month, she has also come to understand the structure and how it is drafted.

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The ongoing saga that was begun last month for the exhibition celebrating 20 years of woven shibori with Catharine Ellis.

At the start of the month: Hot off the loom. I look at this pile and I am overwhelmed- not by the quantity of weaving that has worked out really well but by the amount of resist soon to be pulled up. And then I wonder in over 20 years how much resist would have been pulled up. This exhibition is a cause for celebration! Onward….

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Weeks later. The fabric lengths were finally all pulled up and ready for the dye baths. I decided that I wanted to get a range of colours to signify age. The colour had to come from sources that identified age to me.

I used pomegranate that I have had in my garden for probably well over 20 years. The original seed for this ornamental (unfortunately it can’t be eaten) came from my Grandmother’s property (50 years + ago) and then to my mother’s garden. I think that there is a lovely parallel there with my matrilineal line.

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The other dye source came from the old Tallowwood, Eucalyptus microcorys that grows beside my fence. It has been here a very long time. It was a very mature tree when we moved in 40 years ago so would have to be well over 100 years old possibly older than 200.

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Tallowwood were a predominant tree of this area before settlement. There is this wonderful example at a local nature reserve.

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This tree is protected and is over 400 years. It was never felled because it had been deformed by lightning when it was about 100 years old but it certainly gives a feel for what this landscape may have been like. I can just imagine the early settlers struggling through the scrub with these and other large trees dominating.

From these two sources, I required 8 different colours. These were obtained by the use of mordants (tannin + alum), the two dyes and a dash of iron. Pomegranate doesn’t technically required a tannin pre-mordant but I did add to help shift the colour for two dye baths. The tannin pre-mordants were tannic acid obtained from oak galls and myrobalan. Because pomegranate is so high in tannin, I also used it as a mordant for one of the Tallowwood baths. Usually I would add a dash of iron to make the colour muddier. In one case it was liquid from a collection of rusty bits that I found and that had been soaking for at least 2 years. While the mordanting was very measured according to weight of fibre, the dyestuff, proportion of them and the quantity of iron certainly weren’t. Here’s an overview of the dye combinations for the 8 colours. As you can see I aimed to cover different combinations of the basic elements.

  1. Pomegranate, no tannin, iron
  2. Pomegranate, tannic acid, iron
  3. Pomegranate, myrobalan, iron
  4. Pomegranate, tannic acid, iron
  5. Tallowwood, pomegranate, tannic acid, iron
  6. Tallowwood, myrobalan
  7. Tallowwood tannic acid
  8. Tallowwood, tannic acid, soaked iron liquid.

 

The tallowwood leaves were collected whether fresh or old, covered with water and soaked for a day before being boiled, strained and reused. I did not retrieve these for the next bath.

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To prepare the pomegranate bath, I collected both old husks and fruit- whatever I could find, covered it with water and left for a day or so. Before dyeing, the mixture was boiled and then strained. The fruit was returned to the bucket and soaked again till the next day of dyeing. The dye process took well over a week. It is interesting to note that the recycled pomegranate continued to give equally strong dye on each progressive dyeing and that there was still plenty of dye to be extracted by the time I was finished with it. I must admit the odour was pretty strong though luckily hasn’t stayed in the fabric.

Here’s the end result showing the variation in colours though you will have to wait to see what the finished pieces look like till the exhibition.

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October 2018: Colour in Weaving studio class and an exhibition announcement

November 4, 2018

The studio class this month was Colour in Weaving. It provided an opportunity to explore all manner of colour related activities and an in depth look at colour theory. There was a total of 8 warps provided exploring different aspects.  I’ll share a couple of their experiments because it was good fun and the results of their labours.

From straight theory they each wound a section of warp choosing a particular colour scheme. These were later combined.

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Then the challenge was to choose a colour that would unify.

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There was an opportunity to dye so we dyed warps and skeins randomly and for ikat which they took home to experiment with. I will look forward to seeing what is done with those. There was both ikat and painted warps in the workshop. They looked at how to combine several elements together without getting into a tangle. And an opportunity to experiment with a fan reed. Look for this effect in their collections.

This cone of variegated yarn provided one of the challenges. We analysed the colour repeat. They experimented.

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I loved overhearing the discussion involved in what colour choices were being made. It was no longer “I’m using this colour because I like it” as is so often the case when weavers are choosing weft colour. There was discussion of colour schemes, types of contrasts, values, hues and so on. The decisions being made were very much informed and quite often independently being considered and that was apart from the specific colour challenges I set.

Batch 1 of Sharon’s collection.

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and the second part.

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Some of Jan’s work. She could only attend two days. She also wove a colour and weave effect tea towel.

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Rochelle’s collection. She also worked on an extra warp for a couple of alpaca scarves.

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Karen’s collection

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Sometimes I get to finish off the warps.

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It was an extremely busy and productive week and of course a great week of very special camaraderie.

The BYO Loom class met with Marja bringing along her first project in crackle. She loves the structure. I love the end result.

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I have a couple of announcements to make.

Firstly I have been working on next year’s program prompted in no small way by two weavers wanting to book in to the Linen and Lace class.

Next month:    Woven shibori. It is full.

10-14 December 2018. Special. Own choice of project or technique. Weave on any loom including 8 or 16 shafts, draw loom or SE Asian style loom. Experiment with a fan reed.

21-25 January 2019          Linen and Lace.

18-22 March       Woven Shibori

13- 17 May          From a twill threading

10- 14 June         Special.

The rest will be listed shortly.

A major highlight of next year will be my joint exhibition with Catharine Ellis to celebrate over 20 years of woven shibori.  You may be aware that both Catharine and I independently yet at the same time developed the technique that became woven shibori. In 1998 she taught it at Convergence for the first time while I coincidentally had the first article published in Weavers. I thought that it was a significant enough milestone to celebrate so I invited Catharine to be a part of a joint exhibition.

Here’s some advance notice.

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Redland Art Gallery, Cleveland, Queensland. Sunday 10 March – Sunday 14 April 2019. The contract finally came through this month so now it is official.

Now that of course means that I am now officially busy creating. Thank goodness some of the work is retrospective and it is a two person exhibition!  Mind you I have been quietly working away, considering, planning and procrastinating in some cases, since last year when I first proposed the exhibition. While I won’t share the final pieces, I thought that it might be interesting to share some process. This is a glimpse of the start of one of the ideas that I’ve been following.

I am a long time resident of this area. In fact I have lived here for nearly 40 years. It is the place where my husband and I settled when we got married. It’s where our children were born, raised and left from and have even come home to. It’s where he died. It’s where I live and create. It does in some way give me a sense of belonging.

I have a general awareness of the history of this area of The Redlands. I have long been aware of the historic homes: Ormiston House, Whepstead Manor, The Pines, The Old Court House and the like. There are roads named after early settlers.  Perhaps its history could well provide a starting point for inspiration for a new body of work. And so I began researching. I found out lots about blokes who settled here. How much reference was made to females? Not much of course and the further back in time, the less you find. Why not limit research to history before 1900’s and even further to female history within that time frame? That will allow for a time frame of about 50 years when this area first had white settlement. As an aside, while I certainly acknowledge the first people of this land, I just don’t feel qualified to present it. I have had a very interesting time visiting the Local History section in the library, going on line for oral history, visiting the Museum, having discussion with people who have stories to tell. Everyone who I’ve had connection with in this project have been extremely helpful. I certainly appreciate their help. I have collected stories and references and found out all manner of interesting things. And sometimes there’s an echo of my family history even though I my family is not from here.

I hear the voice of my mother who praised 1961. That was the year that the contraceptive pill became available in Queensland. I have of course found references to women and family sizes. That was always going to be easy but here are two that are remarkable. I have intentionally removed names for now.

One bloke had been married twice before he left England (The first wife died after 5 children and the second after 10.) I wonder what happened to those children as he then emigrated to Australia and became the first squatter in the area, 1850 before acquiring a lease five years later. And of course he married: Louise in 1856 and had 7 children raised in this area.

The second story involves a husband, wife and a couple of children who took up a selection here. (You had to work 5 years and make improvements of a certain value before it was yours). She raised 14 children of her own (with the “midwife knowing the track to her house”) and 5 of a neighbour’s. I gather their mother had died.

While family size is often commented on, I have ferreted out other tales. Some are direct references to women while others can be inferred. There are fascinating tales of how the women got here. Apart from coming with their husbands, some came out independently and in the case of one was employed for the trip as a nanny and then abandoned here in spite of being promised a return trip.

I’m amazed at tales of intrepid settlers. I can’t imagine how a woman must have coped with a young family newly arrived in Australia deposited in a clearing and a simple slab hut, isolated with no neighbours close by, tracks that are merely blazed trails and children who have to be kept safe and raised and all those new sounds, strange animals, dangers. Yet they survived, their families grew and each successive generation built on the success of their toils.

And occasionally there are funny quirky tales of life. One involves corsets being worn to work, taken off and hidden and then put back on to go home so that if they met a young gentleman they would be “nice and shapely”.

And so I’ve collected stories, facts and figures and now have to develop a body of work. The research has been fun and an excuse to delve into our history. In fact it’s been rather addictive and I’ve gone down so many side tracks. I think that I had better stop the hard core research and get to making. To celebrate I visit Ormiston House for Devonshire Tea.

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I spent a lovely afternoon with Jessica, their historian. This house and garden is credited to Captain Louis Hope, the father of the sugar cane industry in Queensland amongst other significant positions. We know lots about him. He built this house over a period of time 1858- 1865. There is a wife in the background.  In 1859 he married Susan Frances Sophia Dumaresque.  They had 8 children. However there is some recorded history  made about her and thank you Jessica for providing these and more references: ‘Mrs Hope is just as nice [as Captain Hope], so very good natured and lady like’ (Harry Alington Creaghe in a letter home) and by Mrs Evelyn Alford, who used to visit Ormiston House as a child ‘we often saw her sitting in her favourite position – sitting beside the big windows doing her fancy sewing or entertaining friends’. They eventually sold the property and returned to England.

I should mention that Ormiston House is open to the public on Sunday afternoons.

There was an unexpected bonus from today’s excursion: it’s a real treasure! I have collected some dye material that I’m sure will find its way to being used. This collection of rusted metal is from the large sugar pan that was used by Mr Hope when he ran his sugar mill. It is one of two of the original artifacts from the sugar mill. By the way, the caretaker gave these to me. I didn’t just take.

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What imagery, process, structure or form will I use? And there so many more red herrings, not even related to this research which can distract.  It is major decision time. I need to weave.

 


June 2018: My studio and other events.

July 3, 2018

This will be a short blog after the mammoth job of writing up the series from my textile tour to the Lesser Sunda Islands. However life has been busy.

Soon after arriving home I was off to Canberra for the weekend to teach for the guild there. There were a great group of weavers who were enthusiastic about learning Summer and Winter. Great results were achieved but unfortunately, I forgot to take photos. Twelve students had at work.

And then it was home for a 5 day “Special”. The three students had the opportunity to weave whatever project they wanted. Rochelle and Jan had both missed out on the twill class so decided that this was an ideal opportunity to expand their knowledge.

Jan took delight in weaving a set technique and then threw caution to the wind and developed some exiting variations.

Rochelle completed variations on a theme by exploring treadling sequences for her 3 scarves. They are all quite different.

Katie, from the USA had been travelling in S. E. Asia and stopped off for the class. Her project was to weave fabric for a tunic in weft ikat and silk. Here’s the fabric just off the loom.

A close up view of one of the sections. 3 dye baths were required to achieve this ikat. There’s a hint of olive or pink at either edge of the black.

I have finally got this piece of weaving off the loom. It’s taken a while but then again, I guess you have to be home to weave. And it was at about this stage that I wondered why I did weft shibori. Warp shibori would have taken way fewer threads to pull up.

 

 

And then some indigo. After my trip, there was a definite pull towards indigo as a preference.

And the great undoing. I’m very happy with the result.

I have been asked by several weavers about running a one day a month studio class at my studio. So on a Monday from September to November inclusive the studio will be open. I’m calling this a BYO loom class. Students will be required to bring their own loom. They may do any project according to their personal requirements. It may be to learn to weave or brush up on some skills for a beginner or something more advanced for the more experienced or even designing and planning a series. My intention is to provide the framework that allows students to decide on a project, have the month to weave and then bring it back for evaluation before starting a second one.

Other forthcoming classes include:

3-7 September Double weave and friends

1-5 October Colour in weaving: colour and weave effects, shadow weave, echo weave and optical colour blending.

12-16 November Woven shibori

10- 14 December Special also includes beginning weaving

 

All the details are on this blog under “Kay’s Weaving School” at the top of this blog.

I’m enjoying my Textile Wall. It is certainly bringing back great memories and it was certainly way too early to put away those wonderful textiles from my last trip.