An amazing thing happened to me on Saturday while Bob and I attended a huge party of several hundred people that was a celebration for sending off the crews of various large yachts, from mega yachts to large yachts, for the Caribbean 600 Race. That’s a race that starts and ends in Antigua, with a 600 mile course that circumnavigates a number of islands in this part of the Caribean. First of all, the music was amazing, but prevented conversation with anyone, yet I still met someone quite incredible!
Here is a short video of the steel drum band. I didn’t arrive in time to catch the beginning of one of my favorite songs from my youth—the Turtles “You and Me.”
The real excitement of the evening was that I met a woman living aboard her boat in English Harbour, where she has a Harrisville 22” folding loom onboard. When I asked how she set that up down below, she informed me that she weaves in the cockpit.
We met a couple of evenings later when we could actually talk. Her name is Helen, and she lives part of year the in Minnesota, and part of the year here in Antigua, on her boat.
Right now her loom is set up with an 10/2 Tercel warp. I’m not sure if she has decided what she’ll weave. She may have a plan by the time I see her again in a few days. Like me, she gathers her materials at home and brings them with her. Here is one of some photos she shared with me. I don’t know what she does when the tropical showers start with no warning. Her loom would definitely get wet because here doesn’t come without wind…usually lots of wind.
Sorry that the image is blurry. I couldn’t pass up using it because it’s such an incredible feat to meet a weaver while sailing, especially a weaver who manages to weave onboard. I have never attempted to bring any loom onboard except a copper pipe loom. In order to weave I put a table easel on a folding table and then set up my loom.
I have been considering table looms even though I don’t like them! Is that the voice of desperation? (yes) I was quite intrigued with Jane table looms, but wherever I might set it up I would have to stand to use it. If I bought a stand for it, or had Bob make one, it wouldn’t fit onboard. Oh, the hindrances of living in such a small space while trying to weave.
The only other weaver I’ve met who weaves aboard is Doris Florig, and we didn’t actually meet in person, just online. At the time, 2015, she was aboard her sailboat in Guatemala and had set up a large tapestry loom where her dining table is in the main saloon. I wrote about her here. Currently I believe Doris mostly weaves somewhere in the Rocky Mountains. Here is the photo of her loom she sent me back in 2015. Again, not a crystal clear photo, but impressive, yes?
So it goes to show that I should never say ‘never.’ I have spent 13 years lamenting that I have never met a weaver during our sailing adventures. I have now met Helen, in real life (IRL), who weaves on a pretty large loom on her boat. No, it’s not a large loom by weaving on land standards, but I doubt I’ll meet anyone else who has a floor loom on a mono-hull sailboat. (I refrain from saying never.) Bob would never agree to Doris’ solution, and I actually don’t blame him. I know I can’t get even the little Harrisville onboard Pandora. If you’ve got advice for me please get in touch!
Meanwhile, life goes on doesn’t it? And those of us with hurdles try to figure out how we can keep weaving.
I now have a few projects in Notion somewhat under control. I absolutely could not set it up myself, so my younger son came to my rescue. He loves Notion. He says you can create any kind of system for keeping track of things with it, from spread sheets, graphs, tables, or even ‘cards’ with info. And you can add photos and notes. You have to know how to do this yourself though; there are precious few tutorials. It’s a tracking app for people who are already computer savvy, and that is not me. I have a lot more data to put into my Notion file, but I’m off to good start.
This week I am in an online class with Cally Booker on Doubleweave Huck. The Michigan League of Handweavers is hosting this class. They are in Michigan, Cally is in Scotland, and I am in the Caribbean. What a world. There are three class days, and we’ve already had two of them. Cally gets online mid-afternoon, while the Eastern US folks (including the Michiganders) get online at 9:30 am, most of them with coffee cups in hand. I am on Atlantic time and have finished my coffee and breakfast by the time class starts for me at 10:30. An old acquaintance of mine, from my first guild in central New Jersey, whom I’ve thought of fondly over the decades since I moved away from NJ, is taking the class from Arizona. She has to be ready to participate at 7:30 am. When we finish, Cally is ready for tea, and I am ready for lunch. My friend in Arizona can still get some breakfast! Indeed, what a world.
I don’t have a loom onboard, so I am weaving virtually, as well as being virtual myself. I have put a standard 8S huck threading in Fiberworks, and I copy it into new drawdowns to change the lift plans to get different weaving effects. Everyone else gets to go to their looms and actually weave. I look forward to seeing what they’ve woven at our next class. I won’t have anything to show. This is my set up for class. Tech on tech, with tech….I’m in the zoom class on my ipad while making drawdowns on my laptop.
My mind is focused on the incredible trajectory of weaving history as I participate in things this week. Through Marta Cucchio’s facebook page, I learned that the documentary film about her atelier, that my La Romita group visited in October, would have a free screening on the website for Hollywood Short Fest. The film recently won an award from this organization and was offering the free screening until last night. Over the past week I watched it twice. This atelier and museum has been on my mind constantly since I was there. Marta is the 4th generation woman to continue the revival of very old Perugian weaving designs. She moved the atelier to a very appropriate site outside the medieval of walls of Perugia in 1996. It is now housed in the de-sanctified church of San Francesco delle Donne, St. Francis of the Women, and Marta’s workshop employees are all women. The building originated as a hermitage where St. Francis and his disciples stayed when it was built in 1212. The name came when the Franciscan monks gave the church to Benedictine nuns in 1252. Being outside the city walls it was abandoned numerous times, since there were many battles and wars fought in this area, where being outside the city walls would make this building indefensible. The salt wars greatly diminished Perugia’s economy so this building was abandoned. In the early 19th c it was a spinning mill for a short period.
Before Marta Cucchio took possession of this site for the atelier, four generations of her mother and grandmothers had run this business at other locations. Marta is the first of these women to learn to weave and participate fully in the business.
What has been on my mind since visiting her atelier is, of course, the fabrics. We cannot know the woven structures that Mary actually wore, or the fabrics with which she may have wrapped the baby Jesus. What we know are the fabrics painted by the great artists of the Middle Ages. From those paintings and the historic records of woven patterns created and executed in Perugia, we know a great deal about the fabrics woven in medieval Perugia and can identify them in paintings. As it is, the patterns depicted in medieval paintings and frescos would have been woven entirely by hand-manipulation which would have made them incredibly valuable. For many centuries it was customary for wealthy families to have an inventory of the textiles they owned along with inventories of jewelry, silver and other precious household items. I think most non-weavers would be surprised to learn how valuable fabrics were in earlier times.
Marta and her colleagues weave on manual jacquard looms, a technology that was invented in the early 19th c. Her looms date to the late 19th c. It’s a more-high tech way of producing these fabrics from the Middle Ages, but it is far from the technology we have today. It took two years for the Giuditta Brozetti weavers to plan and execute a reproduction of Leonardo da Vinci’s tablecloth from the “Last Supper.” Some of that was research, certainly, but the whole process of making the warp, dressing the loom, which included attaching the many jacquard ‘mail eyes’ or ‘hooks’ to the warp threads, even punching the jacquard cards, took most of that time. I wonder what it felt like to throw those first dozens of weft passes and watch the patterns emerge.
During my visit in October, Marta mentioned that someone had made a short documentary about her project. The film was shown at Cannes, and then this week, she posted that it had won an award at the Hollywood Short Fest. The Short Fest group posted a free screening of the film for six days. I watched it twice. I could watch it a dozen more times. The breadth of history shown in a skill that I love spans most of human time. In this instance, Marta’s great grandmother started this atelier 100 years ago. Marta wanted to mark this historic moment by weaving something far older that celebrates the weaving history of Perugia. I marvel that women have taken this skill from the most basic materials, both in fiber and equipment on which to weave, all the way to the space age, where computers weave fabrics that are not only used in space, but in human bodies to replace vital body parts.
When I return home I will weave my double huck samples on one of my two computerized dobby looms. I will be part of the long chain of women who have expressed themselves through fabric with whatever is at hand, in my case fairly advanced technologies, like machine-spun yarns and a computerized dobby loom. Then I will sit and hand-hem my fabric. From the space age to the Stone Age. It’s all good. I don’t understand much about computer tech, but I am glad to now be able to track my weaving projects in Notion, and even weave some of my projects via computer driven looms. I still make the warps by hand, and dress the loom by hand, winding the warp onto the back beam, threading the heddles, and tying on to the cloth beam, all by hand. I still throw the shuttle that creates the cloth. What a world.
It’s January, the first month of the new year as well as my birth month. It’s the month when the ancient god Janus for whom the month gets its name, compels us to take stock of where we’ve been and what we’ve done as we look to the future for where we’re going and what we’ll do. He is the god with two faces, looking forward and looking back. He predates the Roman gods and is likely a god from Etruscan origins. The Etruscans are near and dear to me, in spite of what little is known of their culture. Their artwork is glorious and is seen in subsequent centuries in Roman culture. I visited Tarquinia in the late 1970s, in college, where there are many Etruscan tombs with artwork still intact. I had the thrill of being there again a couple of months ago, in October. The images of Etruscan artwork are prominent in my mind this month as I plan for the future.
This is my last year in my 60s. This is a year where I want to pay particular attention to looking back so I can determine where and how I want to go forward Into what will hopefully more than a decade of continued creativity. I know I have to keep de-stashing and even more importantly, I want to create things. I realize I must clear some space both physically and mentally in order to create. I am becoming bogged down in my own stuff. Someone else, younger, with more years of creativity in their future, needs to take some of this burden off my hands.
I’ve been in Antigua for 6 days now. I was treated to a quick tropical squall on the morning of my birthday, followed by a beautiful rainbow.
Then the day progressed with getting a cooking/baking lesson with the French chef of La Brasserie in English Harbour, Antigua. Eric gave me a lesson in making macaroons with fillings. He made me a large macaroon cake which is called an ‘Ispahan’ in French. My macaron cake was scented with rose water, and the filling was a butter cream/custard mixture which I also learned to make, raspberry jam, and fresh raspberries. It’s wonderful to have a beautiful dessert that tastes as good as it looks.
It’s been a rather busy few days since we arrived in Antigua. We’ve met up with cruising friends who have either returned here or stayed here through the holidays. Some non-sailing friends visited during their winter vacation here. It’s their first time in Antigua, and setting aside the Christmas winds that have arrived bringing high winds and rain, I think they are enjoying the island.
Today is our first day with no scheduled events, so we took our dinghy to a new breakfast place called You and Me. It has well shaded outdoor seating area with great views of the head of Falmouth Harbour.
After I finish this blog post I intend to knit for most of the day. My older son gave me a wonderful selection of yarn for Christmas. It’s from a local shop near him, and the yarn is “Yarn Citizens Luxe.” He bought five colors: Pearl (close to white), Heather (barely lavender), Jasmine (medium lavender), Ocean (medium indigo), and Coal (medium charcoal grey). The yarn is 49% baby alpaca, 39 % mulberry silk, and 12% cashmere. I can barely feel it as I knit, and it looks like a cloud.
My goal this year is to concentrate on finishing many UFOs, but this gemlike yarn obviously took precedence. I’m knitting a simple top/down raglan sweater and will use the colors from palest at the neckline to darkest at the hem. Even with our busy schedule, I’ve made sure to have relaxing knitting time part of every day.
Looking back, I am more satisfied than I expected with my projects this year. I should make a record of them, and to help me accomplish that my younger son introduced me to the app called Notion a couple of years ago. Notion allows you to keep track of projects in motion, to keep track of the order in which one needs to tackle projects, and to keep a record of things accomplished. I still haven’t managed how to include photos with this work tracking app, so I haven’t used it to its best potential. On the other end of the organized spectrum, I have an older friend who records all her finished projects in a regular notebook with a printout of the photo she takes when she finishes something. I have not resorted to that method because I have a basic dislike of having a lot of notebooks taking up precious space on my shelves. The notebooks I already have are burdensome enough, not to mention the many decades of periodicals I have kept and the books I own. While these are all precious possessions to me, the lack of space is getting worrisome. Sometimes I feel I might get buried in my workshop and never escape. Learning how to better use Notion this year is pretty high on my list.
In November I was invited to participate in a textile arts exhibit at a private club in Hartford. I think there were only eight invitees, and two of us were new to this event. The exhibit will be on display for the months of January and February. The club held a lovely opening reception a couple of days before Bob and I left to come back to Antigua. I invited a good friend to join me, and when I arrived I realized I knew quite a few of the attendees, but only one of the other artists. It’s always inspiring to see what other textile artists do, and I came away with wonderful images in my head. I was the only tapestry artist on display.
I thought above the fireplace was a prime place for artwork, and I was honored to have a piece there. On the left are two felted landscapes done by the only other artist I knew from the group, Diane Cadrain. On the right is my tapestry “Sunset on Wilson Cove.”
To list the things I feel are accomplishments I’ve made this year, I might put this exhibit at the top of the list. It’s not often that textile artists have a venue to show their work, and I’m very glad I was asked and glad that I managed to pull some works together before leaving the country. I participated in two other shows during this year, and while that’s not much, it makes three events that brought tapestry weaving to the public.
I did a lot of weaving this year. I finished half the warp of woven sashiko, and I made a number of sakiori samples which led to a vest that actually fits me and a tote bag I’m enjoying using. I have the tote bag with me now on Pandora.
Jody captured the best view of the vest which is from the back (althought it’s quite wrinkled from a long car ride!). There are side gussets of sakiori and two sakiori pockets on the front, but the back is almost entirely sakiori. Here’s the front—a photo also taken by my friend Jody.
The fabric for the trim on this vest is what I used as the fabric strips for weaving.
I wove my first wedge weave tapestry, wove half the warp of my sashiko project and gave away four of the finished squares.
At long last I finished the Caribbean tapestry that I began during the pandemic. I can’t post a photo of it because I plan to submit it the Connecticut biennial when I return home. What I can show is the wonderful frame Bob built for the tapestry. This is our best attempt so far at having the back be as neat and tidy as the front.
This fall I made some fabric trays for a party favor for an upcoming event I will not be able to attend, and I made three lace flowers that I included in a fascinator that was made from various pieces of antigue machine lace I have and several ribbon embroidered flowers that I’ve made over the years. That was a fun project initiated by my lace group to become a new category of lace at the Big E Arts and Crafts exhibition. The fascinators are now on display at a local library.
And then there was a little weaving and a LOT of dyeing in Umbria, Italy, which I wrote about here and here. In December my friend Jody and I put some of our new knowledge to work during a two-day dyeing session in my kitchen—right after the new year. We used indigo, weld, madder, and olive leaves and branches from my olive tree. It was hard to stop, and it’s one of the first things I want to do when I return home. The circle of colors starting on the lower right is 3 shades of maddder, , weld, olive leaves, weld with a short dip in indigo, two skeins in indigo (the first one is very blotchy, not sure why), and the last two are indigo dipped in madder. The last skein is close to a color I wanted to recreate from one of the skeins we dyed in Italy. I look forward to attempting that again at home this spring.
I also finished two knitted items this year: a vest with the yarns I got from the 2023 Kate Davies advent yarn box. It is tunic length and has a shadow knitting pattern running through it. The 2nd project is a sweater from a Kate Davies pattern called “Auchnaha.” I used her beautiful ooskit yarn in a natural grey/brown. I’ve enjoyed wearing both these sweaters before leaving New England for the tropical weather in Antigua.
Just before I left home I stopped at Hartford Artisans for a short meeting. It’s impossible to go there without being tempted by any number of wonderful handwoven/handmade things. This time I succumbed to this charming little pouch. It had a rather sad plastic button that imitated bronze. That just would not do! I changed the button to a shell, and added a shell to the plain commercial fabric at the top. I also added a piece of kumihimo from my stash of samples to turn the pouch into a wristlet purse. I’ve got it with me now in the Caribbean, and it is perfect here!
I’m pretty sure I have accomplished significantly more this year than in previous years. While it feels awkward and quite self-absorbed to list all my finished projects, I am trying to understand how I did these things, and how I can maintain this surge of work in 2025. It takes luck, of course, since we need good health to be productive, and that’s something none of us can predict. It’s time to knuckle down to learn more about Notion so I can keep better records, to de-stash my extensive work space, and get down to the business of doing what I love. Forward ho!
Here I sit in English Harbour, Antigua, thinking about my recent return from Umbria, Italy, and the highlight of my time there: a visit to a jacquard weaving museum and atelier in Perugia that is housed in a 13th c. Franciscan church.
Perugia became a walled city in the Middle Ages, prior to the building of this church in 1212. It was originally a simple hermitage that was founded by St. Francis of Assisi when he and his followers stayed here together. By 1252 the monastery was ceded to Benedictine nuns and given the name San Francesco delle Donne. St. Francis of the women—for the women? It was abandoned numerous times through the centuries, and I don’t know those stories. Our host at La Romita, the art school where we were taking a workshop on tapestry weaving and natural dyeing, mentioned that Perugia defended itself many times over the centuries. Most of the conflicts had to do with the vying city states and their status in the Catholic Church, and throughout the Middle Ages Perugia was an impoverished place, in spite of their reputation for excellent craftsmanship in pottery and textiles, and probably other fine crafts that I haven’t found in my searches. There is some great information on the Giuditta Brozzetti website.
The Brozzetti family started the weaving museum and atelier in 1912, but not in its current location. The museum is named in honor of the current owner’s great grandmother, Giuditta Brozzetti. Giuditta started an atelier to bring back the historic handwovens of Perugia, especially the “Perugian tablecloths” that were often used as altar cloths in churches, as well as being tablecloths in the homes of the very wealthy. Textiles were far more valuable throughout history than they are today and were always listed in the inventories of wealthy families. The atelier and museum moved to this magnificent site in the church in 1996. I believe it took a lot of work to bring the church into state we see it today. It is magnificent!
Here is an excerpt from an interview with Marta Cucchia, the great granddaughter of the founder and current owner:
“My studio is one of the last weaving ateliers in Italy – and the only one that reproduces medieval Perugian Tableclothes using Jacquard looms from nineteenth century. Furthermore, with the pedal looms, typical of the Umbrian countryside, we create fabrics using millenary techniques passed down orally from generation to generation. My great-grandmother, Giuditta Brozzetti, founded this Laboratory in 1921. From then on, the passion for hand-weaving was passed down from mother to daughter, each woman bringing her own experience according to her personality and studies.”
Marta has four women who assist her in the studio, and they have all come out of textile schools to make this field their livelihood. What an exciting place to work!
Some of the projects that Marta oversees are replicas of actual textiles in paintings from the Middle Ages and the Renaissance. During our visit Marta showed us a couple of impressive replicas. She had high resolution images taken of Leonardo da Vinci’s “Last Supper,” and she had small areas enlarged so she could study the tablecloth. In hind sight, why didn’t I think to ask her if she thought that cloth had been woven in Perugia?
Even in this low resolution image of the fresco, taken from the intenet, you can see that the tablecloth is highly figured at each end, but also there is a hint that the white on white areas also have interesting weave structures.
Detail of a similar fabric from a different painting:
Here Marta is showing us some of the images she used to design the tablecloth. Clearly I am scratching my head in amazement!
Photo by Jody Brewer
And here is the finished cloth, woven at the Giuditta Brozzetti Atelier:
The jacquard looms in this studio are all from the 19th c except one that is older from the 18 c. These are hand manipulated looms, where the process of weaving involves attaching every thread in the warp to a jacquard attachment that has a series of cards that control the patterns. The weaver stands at the front of the loom and depresses the one treadle (a heavy one that sits rather high off the ground!) with her right foot —yes, they are all women at this atelier. Depressing the treadle opens the shed, and the weaver pushes a lever that is above the beater that engages one of the jacquard cards, then she pulls a cord that sends the fly shuttle through the shed of the open warp. Here is a video of the process, although at this point the weaver is weaving some plain weave between the designs, rather than the more interesting pattern.
Here is Marta showing us one of the many charts of jacquard designs in her collection. These graphed charts are used to make the cards which will control the weaving patten on the looms.
And here is my best attempt at getting a shot of the entire loom. The warp on the loom will be obvious to most of you. The yellow cords anre atracked to each warp thread and are running vertically to a loft area where you just see a bit of the roll of cards used to weave the design. There are other ‘chains’ of cards being stored on the railing of the loft.
I neglected to count how many jacquard looms are in this large studio, but here’s a photo of the long row of them in the museum.
Many traditional Perugian designs can be woven on regular shaft looms with floor treadles. Marta demonstrated this on what looks like an equally old loom to the jacquard looms.
Here is particularly stunning tablecloth woven on a shaft loom in a traditional woven structure with luscious colors. I tentatively asked if it was for sale (and the price) and learned that Marta wove this tablecloth for her wedding. What a treasure…
During the time when Marta’s mother led this studio they produced some designs for clothing. During Marta’s tenure she has also had commissions from Italian haut couture houses.
Photo by Jody Brewer
These dresses were designed and woven here, and I’m guessing this occurred in a past decade, perhaps the 1960s? 1970s?
There are other modern designs available here. This is quite a striking pattern that was for sale as a shawl or a cushion.
While we were there one of the weavers brought out this tiny gem woven in the same structure. They are not yet available, but as soon as they are I need one! I’m sure they will be popular. When I posted a photo of this Facebook some of my friends immediately asked how to get one.
This is my prize purchase from the day, a gem that gives me a little shiver of thrill whenever I take it with me somewhere. It is equally beautiful on the inside, lined in a fine silk fabric from Fendi.
Marta and I also discussed some of the fine finishing that goes into many of the pieces they make. In particular, Marta’s mother adds a beautiful bullion edge to some of the table runners. I must give this a try on some of my handwoven projects. I bought a small runner that I cannot show you because it is at home, and I am writing this in Antigua. Mine is off white on white, with jacquard designs at each end, and the point twill design in the middle. This one is far more elaborate, but I want you see the bullion stitch edges.
Each one of the pieces woven here are exceptional examples of textile skill. In many parts of the US, textiles are no longer valued as they deserve. I hope we can bring some of that respect and awe back into our lives. My house is full of my own handwovens, and sometimes I marvel that many of my guests don’t realize that. I’m not sure people even see textiles anymore, beyond noticing someone in a beautiful dress. There is so much to marvel at in the world of handmade cloth. The Giuditta Brozzetti Museum and Atelier has to be one of the best places to go and relish the beauty of handwoven goods. Get there if you can! If not, there are beautiful images and descriptions on the website.
Recently one of my oldest friends starting seeing a life coach. In one of the sessions the coach asked if she’d rather work or go on vacation. My friend answered that she’d rather work! She is a sculptor and painter. When I gave this a mere moment of thought, I realized I would answer the same. So, here I am in the depths of winter, living on a boat while visiting numerous Caribbean islands, and what I want to do everyday is work!
I have more projects onboard than I can possibly finish in the 3+ months I’ll be down here, but each year when I promise myself I’ll only bring what I can actually accomplish, I break that promise. This year is no exception. Somehow I want to finish one tapestry and start and finish a second one, quite small, but still. I brought 8 oz of merino/silk to spin (so far the only finished project!); three sweaters, two to continue and one to make from start to finish (half done with that one); two embroideries, and a basket to start (and finish, of course). I couldn’t complete these projects at home in three months, even if I worked 12 hours a day! But it’s hard to choose what to bring. And don’t you know, even with all I brought, I pine for the things I didn’t bring!
One day recently, when I was recuperating from the seasick meds I take, I lay on one of our settees watching a couple of hours of youtube videos on various techniques in bobbin lace. I know I cannot do bobbin lace on this boat–but that doesn’t mean I can’t wish I had a pillow here to try.
This year, since we have starlink to stay in contact, I have also started a tapestry study group with six of my students from previous live classes. Setting up the scene for doing these zoom meetings is a little more challenging on a boat than at it is at home.
It’s a feat of Rube Goldberg-ness. I have my computer on our dining table, sitting on both a cutting board and a box in order to get it at the right height to see more than the top of my head. My tapestry in progress, which has some bamboo skewers inserted in an empty space in order do demonstrations of techniques, if needed, is sitting on a table top easel on top of an ottoman. In this photo I haven’t yet set up the cable to my mobile phone on a reticulating arm that faces the tapestry as a 2nd camera for when I might need to do demos. Bob had a big hand in gathering all these random props to get things just the way I needed.
Tomorrow is our second session. I am now in a less protected anchorage, and we are rolling sideways quite dramatically. I will try to set up in the cockpit so I don’t get seasick down below. Meanwhile I am a little worried that the students may not feel good themselves watching the horizon roll side to side behind me. Fingers crossed….
Spinning onboard is the easiest activity. I can look out at the horizon and keep myself oriented. I’m using an EEW Nano 2 from Dreaming Robots. It’s hard to believe that something so tiny and lightweight could work so well, and it doesn’t slide around as I draft out the fibers.
I did a poor job winding on my first bobbin. I forgot that I need move the hooks often when I’m spinning without a Woolee Winder which does the winding automatically. My next three bobbins got a lot better!
And those three sweaters onboard… I’d like to finish one of them! The two that were in progress when I put the materials onboard are a design by Martin Storey, which is a summer loose wrap type sweater made with two yarns held together–one linen and one cotton–called “Skylark.”
The other is a Kate Davies design called “Auchnaha,” also a loose wrap type sweater.
It would be wonderful to finish one of these to wear in spring when I return home to New England. On the other hand, it would also be great to wear this vest which I started onboard with my advent yarn from Kate Davies. Can you see the faint ‘shadow’ work in this? This is the left front/back, so I’m half finished with the vest, which is closer to completion than the other two sweaters. The right side of this vest has entirely different colors in it. What you see on the left side of this photo is not the armhole. It’s the neck opening with the collar already knitted into it. It’s a clever design, inspired by a design from one of the most clever knitters–Vivan Hoxbro.
Recently I returned to embroidery, which I haven’t touched in years. When conditions are calm I can do close work. This is a kit from Melbury Hill in the UK. Years ago when I bought this kit I could have chosen any of their designs, which are all Arts and Crafts inspired. I guess I settled on bluebells because I got to see a ‘bluebell wood’ the last time I visited England to see my friend Lesley. A truly amazing sight! I may finish the flowers today. Then I’ll have another completed project under my belt.
As I write this Bob is ashore checking Pandora in to Dominica. We spent almost a week in Deshaies, Guadeloupe, after about 3 weeks in Antigua, in English Harbour, Falmouth, and Jolly Harbour. I miss the calm harbors of Antigua. No wonder the English were so successful there. Calm harbors with great defenses against attackers. I’ve been onboard exactly a month today.
I have done a few things in the category of sightseeing, but since this is our 7th winter down here, I don’t feel compelled to revisit everything. We see rainbows multiple times a day, and Bob records all of them with his camera. We spent a delightful day at the botanical gardens in Deshaies, Guadeloupe. This year I only took photos of birds and fish. I took the bird photos for my friend who has had a Nandico parrot for more than 30 years. If we rent a car while here in Dominica, we will visit the Kalinago community, and I will enjoy seeing their stunning baskets. Hopefully I’ll bring a few home to give to my basket making friends. There is a lot to do here, in the depths of winter, but I’d always rather be making something with my hands most days. I’d rather work!
Ready or not, it’s 2024. I romped through the fall like a woman with her hair on fire, and I did manage to complete the loom woven projects I was determined to finish. I never managed to touch a tapestry loom. I’m not one who likes to look back and list all the things I didn’t accomplish, but every year I work hard not to do that. Here are some images of what I did finish! And I am celebrating!
For most of the fall I was in a class with Fran Curran to design a project entirely in linen. While thinking about napkins or curtains, or even just kitchen towels I remembered that I’ve wanted to weave some bread bags for a couple of years. Here was the opportunity, which I wrote about in my last post!
I love using these for my sourdough bread loaves.
Since I wove my project at home rather than at the Weaving Center where Fran’s class took place, I finished before the class was half done. So I started another linen project, which is also in my last post. This is a wonderful design called “Meta Weave” by Lisa Hill, which you can purchase her Etsy site. I don’t know any weavers who don’t love a design that looks like weaving within weaving! Her instructions are for kitchen towels, but I decided to make 6 napkins in sets of two colors each. I used blue that you can see above, before switching to red, then green, and I managed to get a 7th napkin in yellow. I also found that I preferred the underside of the design.
Five yards and seven napkins!
Okay! Enough of that. It’s been a long time since I’ve woven a project so quickly. It was amazing to zip through this project, especially after the drawn out experience of weaving the paper placemats that required dyeing twice and unweaving two placemats after they were cut from the loom in order to get back some of the paper weft in order to dye it! That was almost the limit of my patience, but not the limit of my stubbornness, which may actually know no limits!
Then, in mid-November, a good friend gave me a table loom dressed with a sakiori project, also known as ‘rag’ weave. She gave me the loom because she thought I might be able to shoe-horn it onto Pandora. It’s a special loom. It belonged to the oldest current member (96!) of our state guild, whose father made several of these looms for her mother. Sue, our member, had dressed this particular loom with a loosely sleyed cotton warp which she intended to weave with 1/2″ strips of quilting cotton. The loom came with a large stash of cut cotton strips. I didn’t know how long the warp was, but I didn’t want to just cut it off. In fact, I didn’t want to lose all those cotton strips she had cut either. So I felt incredible time pressure to weave it off. And it was enjoyable, especially after I learned the interesting quirks of this little loom. When the levers are up the shafts are at rest. When I depressed the levers the shafts raised. It’s the opposite of any table loom I’ve ever used, and it took me some time to get used to that. In the long run the warp was enough for 3 runners, each about 20″ long by 10″ wide.
I gave away two of the runners, one to the woman who passed the loom to me, and the other to a friend whom I learned had helped Sue dress the loom and cut all the fabric strips. Sometimes things work out just as they should. I have my small runner aboard Pandora now. And how serendipitous it is that the color of the weft cotton strips goes quite well with our onboard decor. I couldn’t be more pleased.
Then, lo and behold, I had the intense desire to weave another sakiori design with my own fabric. Now it was truly approaching time to gather our family for Christmas and get packed to depart. I found some wonderful Christmas-y fabric at a fabric thrift shop while traveling with a friend to see an exhibition in Vermont (Salley Mavor). I wasn’t sure it would be enough, and fate led me to find it on Etsy. Also, it was a stroke of luck that my husband offered to cut the strips! Three yards of 1/2″ strips was no easy feat.
I loved every minute of the weaving. It flew by like skating on smooth ice.
It also worked well with a few of my Christmas runners. Win! Win!
We had a simple Christmas with our younger son and a local family and some of their adult children. Holidays have certainly morphed in new directions since our kids have grown and grandchildren have joined the family, sadly not nearby. It was suddenly time to take down our few Christmas decorations and get packed for the flight to Antigua where Pandora was waiting. That deadline threw me into thinking about what I’d accomplished in three months of weaving, and a temptation to look at the things I didn’t accomplish.
That’s when I thought of Janus and the new year. He is the Roman god of beginnings, hence his placement as the first month of the year. He is depicted as two-headed, each of his two faces looking the opposite direction. This is my Achilles heel (sorry for analogy, but it fits so well). I want to take stock and see my accomplishments measure up to my aspirations. But since they never do….what weaver ever finishes all the projects she plans?….it’s not necessarily healthy to go down this path.
My younger son uses an app called “Notion” in his start up business. I am now trying to learn it because I think it will change my attitude about taking stock. It’s an app for tracking projects and goals, mostly for businesses, but I think it could help me realize that I get a great deal done every year. I’m struggling with the app a bit, but in the long run I think it’s going to be a positive thing– a wonderful way of keeping track of all my aspirations, my progresses, and my accomplishments. Every year there are projects I lose track of, and can’t find, in my over-stuffed work space. This app will remind me of things I started and eventually forgot. If I can just learn the nuances of this application I think I will be thankful to use it. Fingers crossed.
Meanwhile, it’s the new year, I am now onboard living a very different kind of lifestyle, with scenes like these…
This is the giant mango tree in English Harbour, where people usually meet because it’s such an iconic place to gather.
I have started two knitting projects. The first is a shawl, which typical of me, has already been set aside due to more tempting projects! The yarn is what makes this project a zinger. It is handpainted with long runs of the background color and short spurts of the contrasting colors. The pattern calls for knitting the background color in stockinette, then when you see the contrasting colors approaching the needles, you make a little motif by putting five yarn overs on the next three stitches. On the next row you let the yarn overs drop and take the working yarn to wrap those long stitches, creating a little ‘star’ or ‘butterfly.’ I decided to make an asymmetrical shawl shape with a small Shetland lace border called “iron brand” on one side to continue the asymmetrical effect. I was thoroughly enjoying it until bigger thing stole my attention!
The project that took me away from this shawl was an advent calendar of yarn from Kate Davies Designs in Scotland. She has a yarn called “Milarrochy” that is a single ply, 70% wool, 30% mohair blend. I have used it to make her “Con Alma” vest a couple of years ago. The mohair blooms nicely when wet finished. Well, imagine my excitement when she announced that she’d made up boxes that held 24 small balls of “Milarocchy” for an advent calendar! I could not resist. So fun. The box arrived in early November, and it was hard to wait until December 1, but I did it. Here is a photo of the most exciting day for me. On the last day, the little bundle also held a card with a link to an e-book full of patterns for using this yarn.
Drumroll! I love that last color, a perfect Christmas red.
After a good deal of thought, and a fair amount of arranging the yarns into colorways I might knit, I decided to make a vest using Vivian Hoxbro’s ideas for shadow knitting. I am enjoying the process.
I was quite challenged at first because the only needle I had in the appropriate size was only 24″ long. My idea was to knit sideways, a left side front and back, then a right side front and back which would give me vertical stripes with shadows. That’s why I have the yarns gathered in two sections. The right and left sides of the vest will not match. What a struggle to knit that long run of stitches on a 24″ needle!
I was thrilled to discover not just one but two (!) #3 US circular needles that are 40″ long that I’d already stashed on Pandora earlier in the fall. The knitting is so much easier now. Can you see the shadow effect moving diagonally across the knitting? I am almost done with first left side front/back and am looking forward to starting the 2nd colorway for the right side of the vest.
So, here we all are at the open gate of the new year. Let’s all concentrate on looking forward, shall we? Not only about ourselves and our work, but also everything, from family, to community, to global issues. Let’s make this a banner year in as many ways as possible. That’s my wish for all of us.
Today is December 6, and my last post was written on October 5, which is far too long to be out of touch on a blog. A lot of good work, good ideas, and great camaraderie with my fellow weavers have taken place over the past two months, along with feeling that I cannot dance fast enough to accomplish the things that are my highest priority. Are you feeling this way too?
Two months ago I was at a friend’s house with other weavers to spend the day in her beautiful setting mixing and using natural dyes. It was the perfect October day, with the autumn color just beginning to light up the landscape. On the way home I had to stop the car to take a photo of sunlight coming through newly turned golden leaves.
I only brought tiny, 30 yard skeins of 30/2 cotton to dye for use in bobbin lace.
I used indigo and onion skins to make the greens. There is an interesting brown that I now don’t remember. Maybe a mushroom dye? I know it was not black walnut. The red violets are cochineal.
My friend Cindy’s bucolic setting always makes me feel like I’ve entered a fairy tale. She has a huge vegetable garden, and as you can see in the background, a large supply of wood to heat her house. Off in the distance, just to the left of center, is a chicken coop, which supplies her with eggs for a good part of the year. I’m sure it’s hard work to live so simply. I enjoy being in her environment.
I finished the linen bread bags I’ve shown in previous posts, and made a braided cord for one of them. I have a partially made cord for the next bag–each braid will be different. I am happy with the bags. It was an easy project that almost seemed to weave itself.
Since I finished these bags before the linen class was half through, I put on a new warp for napkins based on a design by Lisa Hill that she calls “Metaweave.” They are Brassard 16/2 cottolin set at 24 epi, and the pattern weft is 8/2 cottolin, also from Brassard.
I prefer the underside of this pattern to the front.
I put on enough warp to make 6 napkins, plus sampling. The sampling turned out well on the first try, so I expect I will get a 7th napkin. There will be two each: blue, red, green, and one yellow. The weaving is easy and so enjoyable!
I am ready to start napkin #5, which is the first green. The green I’m using is a great color–sort of kiwi meets avocado. Maybe I can get started on that napkin today.
At last month’s local guild meeting (Area 4, CT state guild) one of our members showed a rag woven holiday table runner that made me want to go straight home and put it on a loom. The problem is that I now only have two looms for weaving fabric and both have projects on them. That led to another member offering me a small 8S table loom–not to borrow, to have! It’s quite a little gem that may need its own post to fully describe and admire. When I picked up the loom I found it already had a warp on it for a small rag woven project. Wasn’t that serendipitous? I wove off that warp with fabric strips that were included, and that gave me a good sense of how the loom works. I now have three small runners, one to use on Pandora and two to give as gifts.
Here is the fabric and yarn I plan to use for the holiday runner. Time is so short now that I doubt I will be able to warp this until I return in the spring. I have high hopes for the fabric strips looking somewhat like the sakiori weaving I did in Japan–little dots of color on a cream/beige background.
The off white yarn is 8/2 unmercerized cotton; the darker spool is a cotton tape. I will either use the 8/2 as warp and the tape yarn as weft, or I’ll blend the two in the warp and use the 8/2 for tabby weft. I have to figure out how to estimate the yardage for the fabric strips, and I’m hoping the runners I made on the previous warp will help me do that. I’ll cut the strips 1/2″ wide, as the strips were that came with the loom. I can then use the woven sett of the rags to determine the sett I’ll weave for this project, adjusted for the width of my project. The fabric was an interesting find. I found about 1/2 yard of it at a fabric remnant shop called Swanson in Turner Falls, Massachusetts. It looks like they will soon have online shopping. I knew I needed more fabric so I googled “Winter Berries” by Susan Winget and found more fabric on Etsy. It’s a win! Now if only I had time to weave it!
This evening I will present a program about Archie Brennan to the Michigan League of Handweavers. I love talking about Archie, and I hope my presentation will spark some weavers to try their hand at tapestry. I’ll be giving a tapestry workshop in Michigan next spring for their annual conference in June. It will be my first time to teach outside New England and the tri-state area–a big deal for me!
As we all get swept full force into the holiday season I hope every one of us can make time to weave, time to reflect on what brings us fulfillment and what projects will best do that, and time to share with others without having our hair on fire. It’s a tall order. Good luck. I’m heading downstairs to start that first green napkin.
It’s now October. I continue to procrastinate on that tablecloth on my Big AVL. I don’t quite know what’s wrong with me because I was on fire to get it on the loom. I was 7/8’s done with the threading in August, and now it’s October and it hasn’t been touched in more than a month. Maybe I’m worried that after all this work it won’t weave well. Yep, definitely worried about that.
On a better subject, I have been weaving my linen project for the class with Fran Curran. I’m more than half done with the 2nd bread bag, and I’ve started the braid for the drawstring. Here is the first design, showing the hemstitching which will be the casing for the drawstring. I designed a diamond with warp-only floats so the blue warp would show up strongly on the surface of the huck lace.
The 2nd bread bag has warp and weft floats. It will be interesting to me to see how they differ after I wash the fabric.
Of the two sweaters I found that I’d like to a) alter, and b) finish, I have started on the blue cabled sweater that was designed by Elsbeth Lavold. I am adding a gusset to each underarm that will continue down the side seam, which I have opened, to create an A-line silhouette. I’m not happy with how the gusset looks. It’s messy. I’ve started over again and am still not happy. Part of me thinks, well, it’s the underarm, so it will rarely show. But…. I know it’s messy! This nagging disappointment keeps me from working on it. It’s not worth a photo at this point.
I tried a tiny bit of Japanese Hogin embroidery and loved it. The fabric I had on hand was finer than what was called for, and I felt I was going blind trying to do these tiny stitches. I love the technique, which is counted running stitches that create simple designs that can become quite complicated in appearance when they are done on a larger scale. I saw so many tiny bits of textile mounted in wooden frames while I was Japan. I bought a tiny temari pin cushion at the Cohana store in Tokyo. There are wonderful sashiko pin cushions mounted in wooden bowls, and there are embroidered brooches mounted in wooden frames to be worn. I was smitten with those. I found someone on Etsy (Artbase) making some pretty brooch frames in cherry.
I’ve already ordered a larger brooch frame for my next embroidery, and I’ve visited my not-so-local needlework shop to buy a slightly coarser woven linen. The one above was embroidered on 32-count linen. Next time I’ll try 28-count. I enjoy doing this!
My next project, which feels both big and small, is cleaning and re-framing a beautiful crewelwork embroidery made by my oldest friend, back in 1981. This gem of a piece is over 40 years old now. It got lost for several years when we made our last move, so when I finally found it in a box in the attic, wrapped in tissue and packing paper, it had suffered some. I don’t know if these brown blotches are mildew, but I hope I can get them out. I am using Orvus paste, recommended by the women at Thistle Needleworks, my not-so-local shop. I was anxious removing this gem from its frame. It’s heartbreaking to see the stains on the fabric.
It looks like the framer used double stick tape to stretch the fabric on the backing. I hope to sew it in place when I re-frame it.
I took out about 50 staples on the sides. I hope I can make this as beautiful as it originally was. Then I’ll feel like a pro and I’ll tackle some other things from my stash.
My new tapestry students are doing a great job. Every class seems to show me new ways that a class can have a group personality and an interesting trajectory. This class is moving quickly, so I think they’ll be doing some of their own designs soon, when we are barely at the half-way point of the semester. I love seeing the colors that students choose. It’s always a visual feast to see all these colors become something real. Students keep me endlessly excited!
I hope I get most of my big and small projects done. There is energy in the air. I just need to harness it!
For the past several weeks I’ve been deep into some interesting rabbit holes. There are so many compelling things to learn, tips to explore, and amazing images to see. That means I have not touched my tablecloth warp in three weeks. I do feel a little guilty. I am at the point of threading the final border, and it’s the hard part, considering whatever I thought I was doing 12 years ago that I now cannot remember or understand. I will tackle that final area of threading soon, but in the meantime I’m enjoying my rabbit holes.
I went looking for a stranded sweater pattern that I started quite a few years ago. I did not find find it on the first or second go-round, but it finally turned up late last week when I was looking for something else. Isn’t that always the best way to find something? A few months ago I came across this sweater and decided I ‘needed’ to finish it. That’s when I learned I don’t seem to have the pattern! I searched through my Ravelry library, my emails, and even through the printed patterns I’ve collected in two huge notebooks. No luck.
Do you see why I want to finish this? The yarn is a Finnish brand called “Kauni Effect.” I am using two different colorways. One is called ‘rainbow’ and the other is something like ‘autumn.’ Sorry I’m not sure of the second colorway. I’m knitting with one yarn as color A and the other as color B, and the yarn does all the work to create this amazing, glowing, beautiful effect! I know, I’m gushing.
I could not figure out what happened to the pattern. I posted a photo on Facebook, and many people began responding to help me retrieve the pattern. After more than a hundred responses I began to remember a few things about this design. The sweater pattern was designed by Ruth Sorenson, but the stitch pattern was from Dale of Norway. Someone whose name I don’t know put the two together to create this stunning sweater. It was easy to find the stitch pattern on Ravelry. It’s in quite a few people’s stitch libraries…but the sweater is no longer available, and for some reason I have lost it.
When I started googling various ways to get in touch with Ruth Sorenson or to see all of her designs, one of the top hits in my search was my own blog. Seriously? It turns out I wrote about my plans for this sweater here. That was March of 2014. That sweater has been laying in a canvas bin in my wall unit for almost 10 years. Yikes!
One of the 100+ people who responded with help on Facebook contacted Ruth Sorenson and got permission to share the pattern with others. She sent it to me, and by now I’m sure others have it too. Thank you, Ruth! Between the sweater directions and my own notes I plan to get cracking on this sweater again. I won’t be wearing it this fall, but hopefully in fall of ’24.
In the sweater department, there is also this: “Hild” by Elsbeth Lavold, from her Desinger’s Choice, Book 9. I made this years ago and have worn it a few times. It no longer fits, but I still love it. Last week I un-sewed the side seams and am adding gusset to each side. I hope that gives it enough flair for me to enjoy wearing it again.
The sweater bug has definitely bitten me. I haven’t been knitting much over the past several years, but clearly I’m back in knitting mode now.
I’ve started a class with Fran Curran at the Weaving Center of Hartford Artisans. She is leading us in designing a project using linen. We had a short presentation on designing huck lace by Jill Staublitz, and I decided that would be the weave structure I’d use for my project. I’ve woven a lot of linen projects over the years, and a lot of huck lace too. It was hard to decide what my project would be since I have plenty of napkins, placemats, even a couple of linen tote bags with huck lace. Then one evening I remembered that I’ve wanted to make bread bags for a couple of years now, ever since Handwoven Magazine featured a linen bread bag pattern. I fear my bread bag may be a bit over-designed, but I will have fun with it.
I will have a center diamond motif on the bag fabric, surrounded by plain weave stripes and a mix of natural and half bleached linen for the background fabric. The stripe colors are in the photo of the sweater above. They happened to be laying on the counter in my studio where I took the photo. I wanted the huck diamond look particularly blue, so I’ve made sure the huck floats are in the warp, which will be blue in that section. I’m looking forward to this!
Lastly, I have started teaching another 9-week tapestry class, also at Hartford Artisans. I’m intrigued by this new batch of students and hope they will enjoy tapestry weaving enough to continue to pursue it.
My son Chris calls this kind of distracting activity “bike shedding.” He says this phrase came about when a group of engineers were ‘stumped’ on a building design. They decided to design a bike shed for the building before working on the building itself. Who knows if this is true, but it seems to be something I’m rather good at…bike shedding, procrastinating, and going down rabbit holes. I could do worse!
Early last week I spent the better part of three days determined to get a standard warp onto the sectional beam of my BIG AVL (aka BIG ALVIN). The warp is 12 years old! You must be thinking why on earth would I save a warp for that long, and why, oh why, would I then try to put that warp on a loom not meant for it.
A conservative guess on the time I’ve spent so far on this might be 12 hours. And, if you consider that I needed an extra set of hands for some of this (i.e., patient husband) the total hands-on hours is probably 15 or 16. That is just to get the warp onto the beam.
My first attempt involved winding on one of the two warps, using my trapeze (made by my husband). Bob helped with this process, and we had to stop at every set of section dividers to get each section of warp into the proper divisions on the beam. It was slow going, but luckily it’s short warp.
But doing this a second time seemed more challenging for the 2nd warp, so we undid everything and took the two warps together. I divided the whole warp into 2″ sections in order to wind them on one at a time. This horrible sight would give most weavers the heebie jeebies. It certainly felt Herculean to me. It’s two 30″ wide warps that needed to be separated into 2″ sections for the sectional beam.
Why am I doing this? Twelve years ago in May I had a most unique experience–both good and not so good. Some months earlier I had signed up for Vav Stuga’s basic class. I envisioned May as the most perfect time of year for seeing the Bridge of Flowers in Shelburne Falls, Massachusetts, while immersing myself in full days of weaving all week long at Vav Stuga. It should have been one of the most fulfilling experiences. But just a short time before my class began, my father died. It was not expected. It left my mother, who needed full time care, alone. The entire family showed up to be with my father as he was removed from life support, and then we gathered around my mother to care for her and make decisions about her future. I called to cancel my class at Vav Stuga, but it was too late to get a refund. We worked hard to get my mother moved back to New England, where she stayed with me for two weeks before we found a comfortable and safe place for her to live. I took off to Shelburne Falls! During my week in class my mother called me between five and six times a day. She was bereft. She was angry. She was somewhat unhinged. Over time I began fully understand her mental state, but at this time, so early in the process, I was overwhelmed. I could not concentrate.
And yet… I was an experienced weaver of 40 years by the time I attended the basic class, and I had benefitted from some amazing teachers along the way. I completed the various projects in the class in time to be offered the ability to make a warp to take home. My sights were set pretty high! I had seen a tablecloth project in one of the Vava med Hemslojden issues in the Vav Stuga library, and of course, I didn’t want a medium sized, 45″ table square. I wanted a tablecloth to fit my dining table. After all, I had a big 60″ wide Toika that was calling me to make a tablecloth!
I love monk’s belt, and the idea of it running both weftwise and warpwise was a thrill. In the book the colors were all in shades of red and rose with cream monk’s belt, while this photograph shows it in blues and cream. I had big plans for a spring colorway in pale green and soft yellow, with coral monk’s belt and fine stripes between the squares. Sometime in the last decade I sold that Toika and replaced it with big BIG ALVIN, hence the dilemma about how to get the warp on my loom.
All I can say is when I get an idea in my head it is hard to let it go. It was a lot of warp to make in the short time I had left at Vav Stuga, back in 2011. I wasn’t at my best mentally, so I have now discovered that I made a few mistakes in the part of the warp that has the monk’s belt supplemental warp threads. I added those in during my beaming process.
I am quite sentimental about this project. It was a difficult time of my life, and yet this escape to an idyllic location, spending a week with like minded weavers in a wonderful setting, is a memory I cherish. This tablecloth warp is a significant part of that memory. My roommate from that week is someone whose friendship has deepened over the past 12 years. And she is somehow also tied up in my need to make this project a reality. It’s complicated, for sure–both emotionally and technically.
Here are Bob and I, feeling somewhat relieved that the winding-on is done. However, I am now faced with the not-insignificant worry that those sections do not have consistent tension.
At the end of last week, before leaving for a long weekend in Maryland with our grandkids and kids, I began threading. There are 1300+ warp threads. I have made it past the right hand border and the right hand monk’s belt pattern in the warp. I now have a long stretch of the stripes in the middle threaded with monk’s belt as well, but not the double warp threads required in the warp patterned area. Whew!
But other things are now demanding my attention. At the end of the month I will begin teaching two tapestry classes each week through early November. I need to get organized for that. In my own work, I want to try my hand at Helena Hernmarck’s tapestry techniques on a twill ground. I am trying to wrap my head around the instructions she sent me, and I’ve decided to tackle this on a floor loom. Since BIG ALVIN and Baby Wolf have other projects on them, I have rented a small Dorset floor loom from my guild.
To balance the chaos I’m feeling in these projects, I try walk several times a week. My smarty-pants watch keeps reminding me to ‘take time for mindfulness.’ That only makes me feel more frantic! It’s not helpful at all. I feel like a woman with her hair on fire, and that may be why I noticed a sign for a hair salon recently: “Hairdresser on Fire” Would someone, other than me, really go inside that place?
There is a local walk that does seem to take me down a notch in anxiety. I love passing by this house, and think of it as the ancestor of my house. My house is a Dutch colonial with a cedar roof like this one, and lucky for me, better porch railings. My house has a room, our den, that is really the ‘breezeway’ between the house and the garage. I don’t think this house has a garage in that area to the right in the photo, like my house does. My house is also yellow, but with green shutters and door. Anyway, this housenfeels like the more perfect version of my house (aside from those railings, easily fixed). And why not? It was built in 1766. My house was built in 1976, 210 years later with some very nice reproduction touches to make it feel like an 18th c. house. I have sea stars in my windows too! My house is a wannabe of this house. And this house has a beautiful barn in the back and less property to maintain.
This house may be the smallest house in town. Isn’t it sweet? When I pass by I think of sitting in those wicker chairs myself sometime, maybe with a glass of lemonade and my knitting.
And this shed! Whoa! It’s not big enough to be my weaving studio, but I do daydream of spending time in there, doing something creative. It must be that jolt of red in a such a lush green environment that calls to me.
And then there is this big, rambling farm house….sans farm at this point. There is bound to be space in there for an amazing weaving studio. I’d love to get inside to find out where.
And so I’d better get myself downstairs to find the things I need for class and maybe get another inch or so threaded on my tablecloth. I feel the summer starting to wane, and I have much left to accomplish. Soon I’ll know if I’ve successfully bent the rules in putting a standard warp on a sectional beam, or if I’m just hopelessly stubborn. I am hoping for the prior!
Gallery Exhibit at NEWS Conference, July 20-23, 2023. First place “Miscellaneous” for a Nantucket style basket, with 2 special awards for “Best use of Historical Inspiration and Best Use of Off-Loom Weaving.
OVER, UNDER, AND THROUGH THE WARP: The Art of Tapestry Weaving, April 1-30, 2023, The Barnes Gallery, Leverett, MA. www.barnesgallery.org. An exhibition of works by Tapestry Weavers in New England (TWiNE). My works “Entangled 1,” “Untitled 1,” and “Mind the Risks” are in this exhibition.
TINY BUT MIGHTY Unjuried, small format tapestry exhibit, hosted by American Tapestry Alliance at HGA Convergence, July, 2022 Knoxville, TN
INTERLACEMENTS: Artistic Expressions in Weaving. Juried Biennial Exhibit of the Handweavers’ Guild of CT. River Street Gallery, 72 Blatchley Ave., New Haven, CT.
March 30 – May 5, 2019. Awards: 1st Place Wall Hangings, HGA Award for Outstanding Fiber Art.
CROSS SECTIONS: Works in Fiber by the members of North Adams Fiber Artists. Sept. 7 – Oct. 8, 2018.
Opening reception, Friday, Sept. 7, 5pm – 8pm. Gallery hours: Fridays, Saturdays, Sundays, 12pm – 5pm.
A CELEBRATION OF FIBER ARTS: Arts Center East, Vernon, Ct, October 11th — November 7th. Opening reception Oct. 11th from 2-4pm. Gallery is open Thurs–Sunday from 1-5pm. “Sunset on Wilson Cove” and “Hudson River Idyll” are both there for this exhibition.
AWARDS FROM NEW ENGLAND WEAVERS’ SEMINAR: for “Sunset on Wilson Cove”: 1st Place Tapestry and Transparency, Judges’ Choice, People’s Choice, Textile Arts Center “Best in Tapestry,” Rebecca Dea Award for First Time Entrant. NEWS 2015.
NEW ENGLAND WEAVERS’ SEMINAR: gallery exhibition, Smith College, Northampton, MA. July 9 – 12, 2015.
“THE WEDNESDAY GROUP” at Garnerville Arts Center, Garnerville, NY. May 30 – June 4,2015.
“CONTEMPORARY HANDWOVEN TREASURES,” 2015 Biennial Exhibiton of Conneticut Guild of Handweavers, Lyman Allen Museum of Art, New London, Ct; April 4 – 26.
www.lymanallyn.org
“POSTCARDS FROM HOME,” Invitational Gallery Exhibition of small tapestries by artists in Scotland, Ireland, Denmark, Australia, and New England. Northlight Gallery, Stromness, Orkney Island, Scotland. March 25 – April 25.
August 2015, Torshavn School, Faroe Island, Scotland.
“A LIVELY EXPERIMENT,” Gallery Exhibition of the Handweavers Guild of America (juried), Rhode Island Convention Center, Providence, RI. July 16 – 19, 2014.
“SMALL FORMAT TAPESTRY: Untitled/Unjuried,” sponsored by American Tapestry Alliance at HGA, Convergence, University of Rhode Island Feinstein Campus Gallery, Providence, RI. July 16 – 19, 2014.
