Saturday, May 26, 2012

Warping up for more than one project.




When it comes to warping up I tend to be a good planner, which ultimately allows me to be a very lazy warper. 
As my warp is set at at a pre-determined set on each of the 3-4 different looms I work on, I am able to make use of this personal propensity towards short-cutting through the boring bits. Because I use up-right vertical looms with the capability to wind on metres of warp without too much bother, it makes sense to warp up for several pieces at the start. I weave the most urgently needed weavings first, just in case I need to remove one of them before I have finished all the pieces that follow after them as I make my way through the warp. In other words if I need to remove tapestries before I get to the last ones I planned to weave, I CAN cut off the ones I've done if I need to, then re-tie on the warp to the front beam, and continue weaving the other pieces. Of course this means I will waste a certain amount of the warp, so it is very rarely that this happens. 

Here below is an example of 4 separate weavings that shared a wider warp. 



Note the spare warps between each individual weaving.



The 2 tapestries below are shown here being woven side by side sharing the warp. Note the unused warp threads between the pieces. These weavings were preceded and followed by another wider weaving on the same warp above and below them. In total, this warp-up was enough for me to weave 4 individual works on it.



Alan Measles Will Save Us

Alan Measles Will Save Us by gitamalhotra
Alan Measles Will Save Us, a photo by gitamalhotra on Flickr.
Grayson Perry tapestry. Found while surfing on a dull Sunday.

Sunday, May 20, 2012

Wall Pic's From Exhibition

Some of these pics aren't too technically hot but they do give an impression of how they looked in the gallery. Anyway they let you get a peep of what I have been up to, although some of the work has been shown previously.




But The Suitors Do Not Suit Her


Marauding Mannequin
Who's Ya Mama


Inquisition



Superstition




Gallery wall

Local press coverage

Exhibition Pics From Four Directions in Tapestry

Liz Arnold, Patricia Amour, Marilyn Rea-Menzies and I had a very good exhibition as far as visitor numbers go. It was also a very interesting exhibition from a technical point of view, as we have all developed such a distinctive individual style both in technique and subject matter over the years.  For me personally, having the opportunity to see the actual work rather than viewing it on-line was such a treat. The tapestries had a presence and clarity of perspective that can only been seen in its fullness and richness when viewed in real life. 
Tapestry weaving does not enjoy the same high number of practitioners among the weaving fraternity here as it does in other countries, and so I especially hope that this exhibition helps to lift the profile and mana of tapestry weaving here in NZ. Marilyn, Trish and Liz have kindly allowed me to show their work here on my blog, so thank you to you all for the opportunity to share our work here. 
Also a very big thank you to those who were so generous with their time and help on the day of the opening.


Close-up detail of manuka flowers. Section of Tapestry by Marilyn Rea-Menzies.
In the gallery these flowers had a 3 dimensional quality when viewed from across the room.

Close-up of tapestry weaving by Liz Arnold. I had seen this work on line and never fully appreciated the exquisite detail. 

Close-up detail of tapestry weaving by Patricia Armour.
These works were far more textural than I had imagined when seeing her work on-line

Who's Ya Mama?
My own work, finally I had the incentive to get this weaving off the loom in time for the exhibition.

Me and Marilyn taking a breather after the job of hanging. 
After initial reservations about how to go about it with the hanging equipment used by the gallery, the hanging actually ended up being one of the least complicated and stress free I have been involved with.

Jenny hard at work preparing the work ready for the opening.

Pics from Blenheim Trip - Other peoples work.




While I was away for 10 days in Blenheim I went to the opening of Do Make-Make Do, an exhibition of works by Val Griffith Jones. It was a selection of whimsical and yet quite severe social comment through the fibre medium. I was particularly drawn to the sofa/couch works on display. Although it is a 3 dimensional craft, the display of knitted work is often presented in a very 2 dimensional way.  This exhibition definitely presented knits in all its 3 dimensional glory.


Fibre wreath commemorating the Anzacs and in recognition of the passing of one of their members , made by the local guild.
Anzac Day. This year was the first time I have been to a service for many years and it was quite a moving experience. 100 years of ANZAC will be remembered in 3 years time and this years parade has inspired me to start work on some pieces for the centennial in 2015.  





Korowai
I spent some time at the Blenheim Museum. This maori cloak known as a korowai, is made from the muka/long fibres of the harekeke/NZ flax bush. It is an 1800's example of the traditional off-loom weaving that is so familiar to all NZ weavers. 





Close-ups of weavings by Peg Moorehouse

The reason I was at the Blenheim Museum was because Peg Moorehouse had an exhibition of her work there. Peg is one of NZ's best known and earliest contemporary weavers. Her work on display showed work from the 1980's through to the present day and was an inspiration. Click on the link in the right hand column to see more of her stunning works.





Weaving by Ann Cameron

This weaving was on display as part of the NZ/Australian display of tapestry works traveling between both countries, and entitled Circles and Sqaures. This piece caught my eye as it was such an interesting interpretation of tapestry, as well a stunningly simple design that was like a magnet to my eye.

Tapestry Weavings By Stephenie Collin









WELCOME TO MY BLOG....






I hope you find Warped Art & Design both interesting and inspiring, and that it will encourage anyone working with fibre to investigate and experiment further within their chosen field.






The basic loom, which is my tool of trade, has remained technologically unchanged. This aspect appeals to me as I weave contemporary images on a machine of such simple and ancient construction.

And if the loom be silenced,
then needles, threads and fingers
have plenty more to say.











About Me

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Waiuku, Auckland, New Zealand
I am an artist, weaver, gardener, mother and grandmother, home food gatherer, political sceptic, modest future eater, and much much more.