Putting weft in and out of warp, there’s only so much you can do without distorting the nature of the cloth. Whilst I’ve always tried to circumnavigate this rigidity by using textured weaves like soumak to create curves and flow, I’ve always felt I was somehow cheating the nature of the medium. But there are some weavers who seem able to just drip the weft from their fingertips and create incredibly expressive weavings; I’m thinking here of Finnish weaver Aino Kajaniemi, the twentieth century German weaver Johanna Schutz-Wolff and a weaver who I only know through a couple of small images of their tapestries, Rojane Lamego.
The need to find a more expressive way to weave myself became increasingly apparent after embarking on the life drawing classes made freely available by Bradford College of Art. Turns out I wasn’t entirely rubbish at drawing. I learned I had scope to explore, that I needn’t jump on the first quarter-decent image I produced despite myself and subsequently devote the rest of my weaving life to it. I became much more liberated in the design stages, certainly less petrified. I’ve begun to draw for its own sake and not just to make something to weave. I also.learned when it came to drawing I leaned towards quick, loose, abstract images (and large-scale, gasp), and I wanted to find a way to translate that looseness in my weaving.
Initial samples focused on eccentric wefts, loose weaves, plain weaves, painted warps and textured surfaces, but I found I was still ducking away from what tapestry was. I was still hiding behind texture and gimmicks. I wanted to get back to basics; simple weft faced weaving. Writing this post I realise perhaps this is a result of my recent research into earlier tapestries.
Embrace insomnia is what is what I say, because the answer appeared in the wee hours one morning, in-between ‘did I close the freezer door properly’ and ‘when is the council tax due’. I had the answer all along, I had already woven the way I was seeking in the studies I had made for other tapestries. I reworked one of my sketches into a proper design, made the cartoon and worked some samples including the more complicated areas such as the face (below).
I aimed to weave something where the figure and the background were intrinsic to one another, interwoven in design as well as structure, hoping this would make it more expressive than my previous tapestries.
I also found myself finally being able to express something trapped for some time. A sonnet someone once shared with me came to mind as I was designing this (No Longer Mourn for Me), and I realised the figure was sinking into the blackness, but read differently, she was also emerging from it, and that was basically what I’ve been trying to say and failing miserably, as the graveyard of abandoned tapestries attests.
I finished her today and I’m very pleased with the results. It took about three weeks to weave, but stupidly weaving 15+ hours a day, so probably more like five. She is 116cm x 82 cm, so smaller than what I normally go for, but she was a bit of a punt and I didn’t want to waste too much wool and warp in case she didn’t pan out. It was far more complicated than my previous tapestries but also far more addictive. I also found myself freely interpreting the original drawing at the loom which was a far more interesting way to work than being a slave to the cartoon.
She’ll have to stay on the loom for a little while as there’s loads of left over warp to use up. But this piece, and others along similar lines, will be ready to show in May. I am very happy to say I’ve been selected as one of the exhibitors in the Open Houses Gallery at the Saltaire Arts Trail. I’ve never really had the chance to show my tapestries at this event before and I am really looking forward to the opportunity. I feel embarrassed to think of myself as an artist, but I do feel this piece is something I can be proud of and is unique to me and my voice. The Arts Trail takes place 28-30 May and the work of the artists will be on show in houses of the World Heritage Site and I’ll let you know where I’ll be as soon as I do.
I am also thrilled to have been selected for Art in the Pen this year. This will take place in Skipton 13-14 August. I’ve also been selected for Crafted by Hand 5-6 November in Masham. I’ll update the events page on my website very soon, likewise workshops. It has been hard to plan for the year with my Fellowship travels in the offing, but as one of the places I want to visit won’t be open until the summer, it looks like I’ll be heading off later in the year. Obviously I want to go right now, now, now, but it does seem this will be more practical and give me a greater chance to prepare. It is Easter now and I am going to try to take a couple of days off. Whatever you have planned, I hope you enjoy it x
Sonnet 71: No Longer mourn for me (Shakespeare)
No longer mourn or me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world with vilest worms to dwell;
Nay, if you read this line, remember not
The hand that writ it; for I love you so,
That I in your sweet thoughts would be forgot,
If thinking on me then should make you woe.
O, if (I say) you look upon this verse,
When I (perhaps) compounded am with clay,
Do not so much as my poor name rehearse,
But let your love even with my life decay,
Lest the wise world should look into your moan,
And mock you with me after I am gone.