Reckoning with myself: Part 1

Reckoning with myself: Part 1

I know all of us feel it in some way. There is a lot of chaos around the world and certainly in the USA. I find it hard not to take that chaos on emotionally and have been struggling to find calm spaces. As you might have noticed, this summer that has taken the form of frequent short backpacking trips. But I also think I’ve finally reached the point of no return with my studio space. The chaos has overwhelmed me and brought any forward progress in weaving large art tapestries to a grinding halt. The chaos is even on full display in my Change the Shed episodes—that is how far gone I am. I have ceased caring that thousands of people have seen my disaster of a studio on YouTube for months and months.

Time to fix that. Maybe cleaning is a normal response to chaos anyway. . . .

A few weeks ago when I found myself crying on the floor clutching a badly bruised foot after tripping on the video backdrop support in a cramped space, I decided it was time to fix the problem as much as I could. Moving isn’t an option in the world of COVID and neither is renting another space, so this one will have to become more user-friendly. I’m working on that and my goodness but it feels good to move stuff around, give some of it away, sell some of it, and gain more space to work. Maybe in the end, I won’t need a bigger space after all.**

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Making tapestry designs from nature

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Making tapestry designs from nature

I have a t-shirt that says “Weaving saved my life.” I’m not sure that is actually true, however, the amazing Sarah Neubert gave it to me and when I put it on I think of her courage and work in the world of weaving and it makes me smile. What I do feel this year is that backpacking has saved my life or at least my sanity over the last couple months. I was feeling mighty anxious and a bit frantic last weekend for reasons I can not pin down, and three days in the woods made an incredible difference. Sleeping outside, watching moose through my binoculars, seeing osprey and marmots, and watching the full moon rise over my tent in the middle of the night* provided space, perspective, and calm. . . .

My backpacking kit includes a small loom and there is nothing I love more than sitting somewhere high in the mountains weaving or spinning. I’ve talked about my “tapestry diary” many times on this blog. I weave these little pieces as a way to keep myself working and processing ideas in tapestry but also as a way to remember places and events. It is quite effective actually. Spend a couple hours weaving a tiny tapestry about something and that memory comes back when I see the piece months or years later.

Need to know how much of that mystery yarn you have? Get a yarn balance.

Need to know how much of that mystery yarn you have? Get a yarn balance.

Mystery yarns! We all end up with them eventually. There are ways to figure out what sort of fiber it is which I won’t cover in this post, but if you simply need to know how MUCH of a yarn you have, there is a simple tool to tell you. It is called a yarn balance. I’ve had mine for decades and it does come in handy if I need to know how many yards I have of something calculated from the weight of the ball of yarn.

Long ago in my fabric-weaving days, someone told me about the McMorran Yarn Balance. I pulled it out recently to calculate yards per pound of a tapestry yarn I was testing and thought you, dear readers, might not know this simple tool exists.

The Art is the Cloth: How to Look at and Understand Tapestries

The Art is the Cloth: How to Look at and Understand Tapestries

This is the year of new tapestry books! Today’s example is Micala Sidore’s new book, The Art is the Cloth: How to Look at and Understand Tapestries from Schiffer Publishing.

This book is not quite what I expected it to be. I thought it would be a book with a fair amount of text that gave us some guidelines for how to understand what we’re seeing when we look at tapestries. I think I can be forgiven for that considering the book’s subtitle. Instead, it is a book with hundreds of images of tapestries and almost no text. It turns out this is a fantastic advantage for my education. You see, I’m really good at words. I like to string them together, often use way too many of them, and though I love pictures, if I can read about something, I’ll use my brain to mull the words instead of studying photos.

This book is ALL about the photos.

Renditions: a fascinating show of small format tapestries all visible online

Renditions: a fascinating show of small format tapestries all visible online

I love viewing tapestries in person. I can get a close look at how they were constructed and if I’m lucky enough to be at an opening where the artist is present, I can ask them to show me the back along with peppering them with questions about their work. The small format unjuried tapestry show that the American Tapestry Alliance (ATA) holds every two years is one of my favorite shows because it is full of surprises. There are usually hundreds of tapestries and if I can see them in person, I can have a grand time seeing other people’s ideas and techniques not to mention imagery and color use.

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Weaving in the wilderness (nearby)

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Weaving in the wilderness (nearby)

With the possibility of travel largely gone for the foreseeable future, exploring the places where we live seems like something to settle into. I’ve become more interested in details. In watching and understanding what is happening in my back yard. And in spending the time to watch what happens overnight on the trails I have loved for decades. I’ll keep weaving and spinning while outside and that will prompt me to weave more while I’m in my own studio.

Anatomy of a Tapestry: Techniques, Materials, Care

Anatomy of a Tapestry: Techniques, Materials, Care

Jean Pierre Larochette and Yadin Larochette along with Yael Lurie (illustrations) have produced a wonderful new book about tapestry. I read the whole thing this weekend and I highly recommend it. In fact, if you are a practicing tapestry weaver interested in French tapestry techniques, this book is an important one and absolutely should have a place on your shelf.

It contains information from a fairly wide swath of tapestry practice. Jean Pierre Larochette is an Aubusson-trained tapestry weaver with 60 or more years of experience who brings his practice to light quite poetically in this beautiful book. His daughter, Yadin Larochette, is not only a skilled tapestry weaver herself, having learned in her family’s workshop, but is also a textile conservator and provides a wealth of information in the last half of the book to help tapestry weavers create long-lasting textiles.