Jodie weaving herself into the loom
Yesterday was coding and upgrading time. It’s not something I do everyday and it isn’t always without issues so I dance around the necessary job, cleaning the house more, weaving more, emailing more – anything to prevent the upgrade happening. I guess everyone is the same.
I recently read that most people feel besieged nearly 100% of the time. I always thought the object was not to feel like that so now I’m thankful that I only feel that way about 95% of the time and have more admiration and understanding for the rest of you! It seems that most workplaces add to that feeling of besiegement, of being under attack, so once again weaving, feeling creative and sharing this activity in a positive healthy way becomes more than a ‘hobby’ …perhaps a necessary activity to save ourselves.
For me weaving is so much more than all of that and as handweaving and interest in constructed textile making is growing I’m delighted that so many younger designers are taking up the passion.
Looms at Ockpoptok, Luang Prabang, Laos
Well, this is my last post for Thailand and Laos –
I just love looking at people weaving. Perhaps I want to be a supervisor rather than a weaver! Well there is plenty to see in Laos. Looms and weavers at every turn.
One nice experience involved a group weave effort by three girls. Weaving can be a lonely business and it’s much more fun if you can share it with your friends. Each of the girls were taking turns to weave the cloth. While one was weaving on the loom the other two were winding the bobbins from the skeiner. One was turning the winder’s handle and the other guiding the yarn onto the bobbin. When they were tired of their jobs they swapped around. I hadn’t seen this type of group effort before but it makes so much sense it’s probably done all of the time, everywhere. Read more
Instant collapse weave on the Piccolo loom
Just back from the Newcastle Weavers market demo. So good. I set up the two looms each with something different. One with an extreme version of the WWW technique and extremely loose weaving and the other with an instant collapse weave with my overspun handspun. I used an Aussie Polwarth breed from Wendy Dennis. Very nice indeed. After a few decades of weaving you would think I’d be a bit sick of it by now but no! Weaving is just so rewarding on so many levels.
The trading day was particularly rewarding talking to weavers, spinners and other fibre lovers but I also had interest from people who had never woven but had a burning desire to learn or know more. Several times over the last week I’ve had contact from people who just feel so excited about looking at textiles and looms. They remind me of what drew me to weaving many years ago. I think if you have an episode like this with intense yearning or funny feelings when looking at a loom you need to start weaving…for your health and sanity! Read more
Gail’s Saori Woven Shibori cloth at the unveiling.
That’s a mouthful – “Saori Woven Shibori”
But that’s what much of last weekend’s Saori cloth turned out to be. The full two day workshop was small but very inspiring and productive. It allowed more experimentation and the dyebath helped us along. As two of the participants were already Saori weavers and had done previous workshops it was time to step out again.
Woven shibori is shibori (tie-dye) using the loom and the weaving sheds to place the stitching threads to create resist marks on the cloth. This ‘stitiching’ is usually done with a more complex loom providing the pattern of the stitchers. (In traditional shibori stitching is done after the cloth is created.)With a two shaft Saori loom we manually pick up the stitching rows allowing a very improvisational, organic and potentially complex system of marks. Read more
Delights by Trish
Hot off the loom Trish conquered Saori in the recent Book Club Saori workshop.
This was the first workshop in my new studio and once again incredibly rewarding. On arrival at a workshop I go through all the basics and let everyone know that each of them will produce a very different textile to the person weaving next to them. It seems a bit of hype because it’s hard to believe that it’s possible. And yet just a few hours later at the end of the day…it is!
This particular workshop was planned long ago so I think the participants must have dreamed their designs beforehand. Such different colour aesthetics and styles. In a day workshop we usually get enough cloth to make a cowl or neck piece. Sometimes the work is more intricate as though each insertion is one of intense respect for the technique and becomes a smaller piece such as Melissa’s weave. Read more
The weavers of Northern Thailand and Laos come from many different and diverse cultural traditions. This had quite an impact on the types of looms, dyes, yarn production and weavers themselves. They weave around their families, sometimes under their homes and when the season allows.
Initially, I felt that my always ever ending excitement at seeing weaving in such seemingly everyday circumstances prevented me for any astute purchases as far as skill level or patterning…it just all seemed surreal. I’m starved of this type of experience. We just don’t get to see weaving in amongst our ordinary lives like that. Everything is hidden away behind doors in buildings.To see such tangibles we could go to the Victorian Tapestry workshop but it seems a world apart and totally unconnected to our daily lives. The ways of conveying quality and supremacy in the craft (probably to justify the high costs and continue the business) also act to make ordinary people feel isolated, although perhaps not intended. In contrast the accessible weavers in Laos can’t command the real costs of their skills as their story can’t be seen through glossy buildings and marketing displays. It’s a conundrum!
Weaver from Ban Sop Jam near Nong Khiau.
Navone – Master weaver with a natural dyed sinh (Lao womens skirt fabric)
Natural Dye materials used in the workshop
Natural dyeing in Laos is still very common. Although yarns are purchased from the markets with synthetic dyes, there is a still a demand for natural dyeing. The access to the natural environment, the dyer’s knowledge and the array of colours available with multiple overdyes is the most interesting I’ve seen so readily.
Green hands Indigo people
We were fortunate to have a hands on natural dye workshop with dyers from Ban Phieng Ngam in the Luang Namtha area.The workshop was fantastic. The available dyes were fresh Indigo which produces a green, Teak leaves for a rich beige, Annato seeds for orange and Sappan wood for a pink range. We were provided with silk scarves to dye and most of us, much to the bewilderment of the Lao teachers, wanted to create that ‘special’ look with a shibori tie in them. I did a very fancy (boring) plain line! Which, after dyeing, really did detract from the silk scarf after all. Other members of the group did interesting patterns but I wonder why most of us wanted to tie up for resist effects and couldn’t handle a straight dye job enriched with merely the colours of the earth? Read more
Vertical heddles in Ban Haabtai village of the Tailue, North Thailand. Pattern rows are stored in the heddles with fine sticks.
Well I started with the previous post using the spinning of Thailand/Laos as a feature but now it’s the heddles.If you are a weaver you’ll be bowled over by the heddle overload in these countries. Heddles are strings (in this case) which have an eye or loop of some sort allowing a weaver to pick up specific warp threads according to a pattern. The heddles here are quite complex and have many ‘rows’ of weaving pattern stored to create beautiful and regular patterns with an extra supplementary weft to enrich the ground fabric (this is often plain weave).
Here vertical heddles are at the bottom and are merely pieces of string rather than fine sticks to designate each row of lifts.
Most often we see heddling that is horizontal but I really went to Laos to see the unique vertical heddles. Here you can see each row of pattern held by sticks but they can also be with just pieces of string. Each row is pulled down and a weaver’s sword placed between the selected wefts for the row and woven. The pattern stick is transferred to the heddles underneath the weaving and stored until it is ready to start reversing the pattern and taking the bottom sticks for every row, weaving and transferring to the top. It is totally ingenious.
A lovely shot of weaver Kay Faulkner weaving on a loom with horizontal heddles – maybe 40 pattern shafts with 2 shafts for plain weave.
I expected to see these vertical heddles as the only ones in use, but I also encountered horizontal heddles which would be similar to something I would use, if inclined! You can see noted Australian weaver Kay Faulkner weaving on this type of loom near Luang Namtha in Laos.
A set of heddles on one side only – for supplementary weft patterning
Even more unusual, to my eyes, was partial pattern horizontal heddles. I mean why set up heddles right across the weaving just for the sake of symmetry?
Seeing mastery of weaving at this level is exhilarating. The looms are so ‘can do’ with a series of sticks and strings. I really wanted to sit with the weaver all day…even to make her cups of tea and soak in it. But then I would still be there getting in the way and the tour must go on.