To Glass or Not To Glass- That is the question.

Butcher, Baker, Candlestick Maker - The Crown Wants a Piece Of it All

Tapestry weaving is arguably the most obvious technique that readily lends itself to being shown as fine art. I recently discussed exhibiting practices and the presentation of  tapestry weavings with another tapestry weaver. We queried whether our work should always be shown in a way that allowed the tactile element of the work to over-ride all other considerations. Does unprotected framing remain the best way to present contemporary, smaller, non-functional works?

Should the most important element of the work even be the weaving?

From a traditional and purists point of view, tapestry weavings should not be shown behind glass. In many circles and obviously at the judged national exhibition level,  there is a continued expectation that tapestry weavings should be presented in a manner that best connects veiwers to the the fibre/craft element of the work. 

I have always struggled with this as a hard and fast rule especially if conveying the message of the piece is more important to me than the fact that I happened to chose tapestry weaving as the medium to convey that message.

As a hand-woven tapestry work that is made special by "Please  Do Not Touch" signs, does the weaver take the initiative to present the work from behind glass, in a manner that  acheives the same result.
Is it a matter of educating veiwers/judges to accept the work as it is intended to be viewed as a whole by its creator or should the creators still be striving to educate viewers of their fibre art through the traditional and accepted manner of presenting the work open to the elements and inquisitive fingers?

At the end of our discussion we rightly or wrongly concluded that the craft artist would probably argue in favour of the status quo, i.e that to present a tapestry weaving behind glass deminishes the work. Whereas  the artist/weaver would probably be more inclined to want the piece protected and presented to the viewer framed behind glass if that was how the piece worked best in relation to their intended artistic statement or concept.

E.P.I. CONTINUED....

Woven on a much finer warp thread at approximately 10 e.p.i. allows for more detail to be incorporated into a design. Being woven at 10 ends-per-inch still makes it a reasonably low warp count and the jump from vertical warp-to-warp threads is clearly noticeable where the line of the cheek on the face meets the main background. If the warp had been set at 20 e.p.i. this would be far less obvious, however the hours of work involved completing it would be much increased.

I love this weaving …Beyond The Wall Of Melancholy

Every now and again you produce a piece of work that you feel is as close to what you were trying to create as you wanted. For me this is definitely one of those pieces. By having such a strong visual impact, it manages to strike a chord with viewers, and got a half page review in the FEATURE PLUS section of the Timaru Herald when it was exhibited at the Aigantighe Gallery while promoting the 2009 National Creative Fibre Exhibition in April last year. It is often this type of unexpected hands-on support from people who are unfamiliar with me or my work that feed the artist within….. Soul food is good too.

* If you would like to help feed the artist without, the piece remains unsold and represents approximately 40 hours work. Offers that support the principles of N.Z. Fair Trade can be sent to me via my blogspot E-mail address.

Which Way is Up?

This archival weaving is a good example of how the design dictates the direction of the weaving process. This piece, and the weaving "Moehau" below, were woven sideways so to speak. If you look at the images with this in mind it is easy to see that vertical lines in a design need to be carefully planned, and that these vertical lines will ultimately determine whether the piece will be woven on the loom vertically or horizontally.