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I really enjoyed teaching a three-day workshop for Taos Wools Festival in October. I taught in this same room last year but they’ve expanded it and now there are some windows. The class was fun and funny and they wove a lot in three days.
We were working with Taos Wools Chica yarn. This is a gorgeous churro yarn that is hand-dyed by Joe Barry himself. For this workshop there were piles of little skeins in all sorts of colors. It was definitely like being in a candy shop!
September has been a marvelously creative month for me and that is largely because two of my dearest tapestry colleagues came to visit a week apart. Cornelia Theimer Gardella was here for a week-long joint residency and then Sarah Swett and her adventurous dog Beryl stopped for several nights.
Having fiber friends is important and these visits remind me why that is. Both Cornelia and Sarah have had a big influence in my own tapestry life. I met Cornelia 20 years ago at Northern New Mexico Community College where we were both students in the fiber arts program. And I got to know Sarah through a little fan-girl following and then an American Tapestry Alliance retreat in Colorado almost ten years ago now. She wrote the forward to my book, The Art of Tapestry Weaving.
Some time before my class at Harrisville Designs in New Hampshire, one of the students in the class, Kerri Keeler, emailed me that she knew about a tapestry just a few miles from our workshop that we should visit. She offered to take care of the logistics and I told her if she could set it up, I would be happy to encourage the group to go.
So Wednesday night during our color retreat, we caravanned to Peter Pap Oriental Rugs to see the lost Frida Hansen tapestry, Sørover.
Every year I run a class I call Summer of Tapestry. It revolves around a practice I’ve had for many years now of bringing a small loom with me when I’m hiking or traveling and weaving something about what I experienced or saw. I often call the practice sketch tapestry because my goal is to capture something interesting about the experience, not to replicate whatever it was necessarily in any realistic way.
I find that the practice of really looking at something and then weaving about it makes me pay attention instead of just rushing blindly through life. The inspirations I’ve woven something about are things that I remember months and years later.
I’ve linked many of these sorts of tapestries on my blog over the years and you can find some of these stories under the tapestry diary category. The concept is simple. It is a way of paying attention to something in my experience that caught my eye or had some sort of meaning. Making a tiny piece of art about it allows me more time to sink into the experience and I find that I remember the things I wove about clearly in the future.
The sixth Tapestry Discovery Box opens April 15, 2024 and it is all about wedge weave. I’ve admired contemporary wedge weavers for a long time. It has become a popular technique and I often see wedge weaves in art shows.
The technique is an eccentric tapestry weaving technique and in that sense it has been used all over the world for as long as weaving has existed. The use of wedge weave where the technique patterns a whole textile, however, is most often seen in Diné (Navajo) weaving. It was a popular style from 1870-1900 when it disappeared from use for a century or more. It is said that tourists didn’t like the scalloped edges this weaving technique creates and the weavers stopped making them around 1900.
I started putting together a list of resources from my past blog posts and newsletters of the things that I see give tapestry weavers the most trouble. I wrote the first blog post about this February 22, 2024 and realized there was at least one more blog post worth of things high on the list of most-frustrating.
In the February 22 post I covered these things:
weft tension
choosing yarn
getting the last warp tight on a continuous warp
design and getting the effects you want
Let’s add a few more to the list.
How many times as a newer tapestry weaver have you felt frustrated because you’re weaving along and suddenly your wefts are in the wrong shed?*
Wait, what is a shed anyway?
How many of us who have been weaving tapestry a long time remember those days when every time we added or subtracted a weft in our design our sheds were wrong? Or we are trying to fill in a dip between two forms or add a new color into a pattern and there were either lice or the wefts just wouldn’t go where we wanted them to go?
