The first tapestry weaving at my Icelandic Textile Center residency

The first tapestry weaving at my Icelandic Textile Center residency

When applying for this residency, I designed a project working with Icelandic fleece. I wasn’t even sure I would be get my hands on any raw fleece, but I managed to find a source through the friend of a friend and have been playing with the little bits I have. I am looking at how Icelandic works for tapestry yarn and getting a lot of spinning practice in in the process.

I had to work with the fleece I was able to get. A little bit of it is outstanding, lots of it is spinnable but not great, and some of it is not going to make the tapestry cut though I have been considering trying to spin it for knitting.

My tapestry yarn woven test includes these sources. All but the fleece I purchased either at the Handknitters Association of Iceland in Reykjavik or in grocery stores in the rural north. The Plotulopi came from the Kidka Wool Factory Shop in Hvammstangi.

  • raw fleece

  • Einband: a lace-weight singles yarn made by Istex that is quite nice for tapestry

  • Plotulopi: the traditional unspun roving sold in plates

  • Lettlopi: mostly I’m making a pair of traditional mittens from this, but it actually weaves quite well also. Worsted weight.

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Warping for various setts on a peg loom with this one simple trick (plus a discount code!)

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Warping for various setts on a peg loom with this one simple trick (plus a discount code!)

Schacht Spindle Company has a selection of tapestry looms that I use. Their peg looms are sturdy and easy to find in the USA and in some places around the world. While I love their new Arras tapestry loom (reviewed here), their peg looms are great for travel or for small projects at home. These looms include the Schacht Lilli Loom, Easel Weaver Loom, and School Loom. The pegs used on these three looms are all the same and the sett is about 5.5 ends per inch. Most of us don’t want to weave at 5.5 ends per inch when weaving small things because we want more detail, so how do you warp these looms to get closer setts?

Ice, snow, and northern lights

Ice, snow, and northern lights

The nature. On the plane on the way to Iceland (if you fly Iceland Air which I recommend), there are lots of fun videos about this country. Many of them are about how to enjoy and protect THE nature. I love that they use an article to set apart the monumental importance of the landscape and living things here.

One of the most important things for me when I go on an artist residency is that it be somewhere where I can spend a lot of time outside. My work is inspired most often by my experiences in the outdoors. The north of Iceland was a perfect spot for me to spend time away from daily distractions gathering ideas for new work.

Here are some images of what I’ve seen so far (minus the yarn).

Arriving in Iceland

Arriving in Iceland

The Textile Center in Blonduos, Iceland has an artist residency for fiber artists. I have wanted to make my own trip here since my colleague Cornelia Theimer Gardella started coming here for residencies in 2015. I wasn’t sure the residency would happen until not long before we left because of covid, but I am now in Iceland. I’m currently watching the ice float by on the river Blanda and contemplating some designs to turn Icelandic fleece into small tapestries.

I flew into Reykjavik of course and had a couple days in the city before getting a bus north about 150 miles to Blonduos. Reykjavik feels walkable and fairly small though I realize this is just because they have a defined city center and there are extensive suburbs. I enjoyed walking the path along the harbor and watching the Esja massif across the water in the changing light.

Iceland, Here I Come! Icelandic Textile Center art residency

Iceland, Here I Come! Icelandic Textile Center art residency

I have been planning this for about a year and have kept it mostly to myself for all of that time which can be difficult for me. I didn’t know if Covid would allow me to actually go. But I’ll be heading to the Textile Center in Blönduós, Iceland soon. I’m going to be working with Icelandic wool and ways to use it for tapestry weaving.

When you can only bring a very small amount of stuff for a residency that feels quite long, the challenges of packing compound. I am that person who wants to have all options available at all times and it is clear that that is not possible in this case. I get one checked bag and though I could pay for another, I really don’t want to find myself struggling through Reykjavik and onto various busses with more luggage than I can really handle myself. One suitcase, one backpack. Thus begins the task of choosing…

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Shed Stick UPDATE! More options for your small-loom tapestry weaving

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Shed Stick UPDATE! More options for your small-loom tapestry weaving

I wrote a post a couple months ago about using shed sticks which included the few options that I could find readily available. Since then I’ve had several updates to the shed stick situation and I now have a healthy list of great options. I am quite sure there are more great tools out there. Here I was focusing on makers who have their work in stock all the time or at least with good consistency.* These are all US makers, but there are woodworkers all over the world and I am sure there are small tool makers in your neighborhood also if you do not live in the US.

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Archie Brennan: Tapestry as Modern Art

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Archie Brennan: Tapestry as Modern Art

This new book about Archie Brennan (1931-2019) and his life as a tapestry weaver is a wonderful mix of Archie’s voice and art, images of his work, and thoughts of his friends and colleagues. I heard rumors this book was happening many years ago and have been hoping they were true for a long time. I have not been disappointed. This book has far exceeded my expectations. Brenda Osborn has taken what has to be a rich collection of Archie’s spoken and written words and created a wonderful picture of an artist who had a huge influence on the trajectory of a very old art form, tapestry weaving. The book is by Archie Brennan, but the second author, noted as “with Brenda Osborn” deserves a standing ovation for her crafting of this masterpiece.