Another workshop in the weekend inspired fresh ideas in the studio. It’s like ‘there’s nothing new’- but there is, at least to me. Ruth and Anna came equipped with their own yarn ways and ready to re-purpose jewellery in their work. Diane wove a bag textile enhancing the jute textures throughout the cloth featuring pops of colours, and Sue began with a ‘ yarn dance’ for the wall but then seemed to be working towards wearable cloth as the weaving process and rhythm took over.
Just what our cloth is for is often separated from the actual weaving process in the Saori free style and sometimes accidental, serendipitous approach we take. We can’t help planning, but as we are ‘planning’ as we weave it can force us to let go of the strong desire to control the outcome. Read more
Seems silly but this is what yarn people do. We travel around to see this! Yarn in all its forms, even just lying around huddled in a simple basket (yet another form of enticing interlacing in itself). This was part of the magic at one of our workshops. Looks rather like my bunch of left over threads near my looms, but still – I photographed it with enthusiasm.
My brother once said that if he had knew about the wonders of volcanos he would have been the smartest kid at his school. Meaning… school didn’t trigger that stirring of passion about something. He had to wait until volcanos and their fascination came to him. It’s the same with weaving for me. It’s been a way of seeing the world and learning about the world around me. And as we are all involved in cloth in some from birth to death, it’s a good one for learning about culture and societies.
Ferry hopping to Naoshima Art Island
Along the way the thirst for cloth reveals other delights especially the natural world and this is what I like about Australia and anywhere I go. On our Japan tour we included all of the art projects at Naoshima Art Island in the Seto Inland Sea. Just getting there is a lovely adventure into a vastly different world to mine. As an Australian I am continually challenged by the people factor in other countries. The inland sea and ferry looked a little like the ferry to Bruny Island in Tasmania in some ways. There you have a feeling of being in a very natural and unpopulated environment. You don’t expect to see any industry, cities or infrastructure. The idea is just out of my understanding! In contrast, Naoshima Island has a small population of 3500 and although there are plenty of natural areas in the inland sea there’s also a lot of activity, industry, ships and towns. On the tour we travelled by ferry, plane, bus, train and foot but I think ferry hopping to islands is the most exhilarating. Islands have a mystique. Next I’d really like to discover more about the whole beautiful area in Seto, the inland sea. Read more
I wasn’t sure what I would learn at Saori no Mori on this stay. But, as usual, it exceeded my expectations. The small things here and there at every turn join up into one big joy of ‘what is cloth?’ and what is our role in bringing it to life.
This cloth here is bending the idea of width. It doesn’t have to stay the same thoughout the woven length but can ‘bend’ in and out, then back again. When you get weaving you eventually feel just how much yarn needs to be in the shed to prevent edges being uneven or pulling in. This amount varies greatly depending on what you are weaving with. For example, in tapestry and weft covered frame loom weaving it is quite pronounced. In cloth weaving it is less so. It’s nice when you get it and it just flows. Not that I’m worried about edges particularly but skill in this just happens as you experience and learn more.
Now take that amount of perfect weft amount for your next row and add a bit more…perhaps by making the angle of the yarn higher or the arc higher, just a bit. Weave a bit more like that then add just a bit more again. Continue as you need to increase the width of the fabric, then reverse the process to return gradually to the normal width. You can measure to prove the process if you’re inclined.
Well that really gets some life into the cloth.
The second photo is Hiromi’s top with a little ruffle. This is a mini ruffle added at the edge of the cloth while weaving. Just adding a handful of threads to the edge and weaving it with a much looser tension created a very different styling to the wider warp ruffles. Another little Saori touch.
Cotton planted by local school children
How exciting is this. Cotton plants welcoming visitors to a cotton Kasuri weaving studio. This studio is in Okayama prefecture which seemed to reveal more cultural and textile riches as we journeyed into it.
Reaching it after a short walk through the narrow streets of the town we come to a place which signals ‘textile’ with the cotton plants. This small studio was abuzz with inspiration and the obvious heartfelt devotion and enthusiasm of the lead weaver Mrs Hinagawa. With the support and encouragement of their local area government, this craft centre also teaches the area’s revived Kasuri weaving. The mission of the group is to continue the revival of this type of Kasuri cotton weaving, teaching it and passing it on, creating local specialty products from the workshop and to enhance activity and vibrance in the town.
As we enter there is a manual cotton ginning process shown to us as the basis for the cloth production. The studio is full of looms in action with various styles and levels of complexity of Kasuri in progress. Some of the travellers got to weave on the looms which are also produced in the Perfecture. In this way we encountered much localism and pride in local traditions in Japan. A sense of meaning in retaining skills and processes and support for it. This is something that is difficult in Australia and although there are pockets of it, such as in Tasmania and some industries, it is generally weaker possibly connected to our particular social and political history which values different things. Even so, it is very encouraging to see anywhere and if it’s in my line of interest, even better.
Down Under Textiles 25 is now on sale with lots of ideas and inspiration on textiles. My column is about the Human Touch and how textiles connect us and are for everyone.
Errata: The photo caption of Marie is incorrect. The photo is of Maria, a Saori weaver.
I am crazy about the Australian bush landscape. And when I go to another country I’m also crazy about their rural and ‘bush’ landscape. Of course they don’t call it bush, it is forest. In Japan this forest is mountainous and beautiful. We came across cypress pines and bamboo and ancient places where temples were. Japan chooses to have up to 70% of its land forested, and although much would be difficult to build on it is largely a choice.
Master Indigo dyer Hiroyuki Shindo
It is into and within this landscape that we visited two incredible and internationally acclaimed textile masters.The first was at Miyama. A more picturesque village I have never seen. Here the atelier and Indigo Museum of Hiroyuki Shindo is nestled in houses made from tall, textured and moss covered thatch. Some have described Mr Shindo as one of the most seminal textile artists of today. He is utterly dedicated to his craft and bridges and unifies the past and present with his work. We were very fortunate indeed to have the artist himself explain his processes. He continues to invent new ways of creating shibori cloth in indigo and his inventions are creative tools for preparing long lengths of cloth for the indigo dyebath vats.The floor of the indigo studio was once a farmhouse kitchen now devoted to the ceramic vats. To introduce fermentation he mixes composted leaves with lye, wheat bran, slaked lime and sake.It is a unpredictable process which he manages through long experience.
A mangle stained with indigo
The end product left over from the bath is always natural and can be returned to the earth with no residue or issue at all. This is an important aim of his work as this type of dyeing requires patience and skill and isn’t focused on big production. It treads lightly, requiring work and sensitivity, but delivers great beauty.
The next artist was Jun Tomita. Co-author of Japanese Ikat Weaving and a master of contemporary kasuri. Very much a favourite artist of mine! He also lived in an amazing landscape with a studio converted from a glasshouse to provide good light nestled in a bamboo and Cypress forest.
Jun Tomita’s studio
Nature propels the imagination and energy for creative work, in my humble option. And this studio was filled with that ideal. Commission work and kasuri/ikat work in progress was everywhere. Tomita’s wife Mayo Horinouchi, is also a weaver and artist and was weaving double cloth on a loom when we got there.
Jun Tomita spent some time at the Jam Factory in Adelaide early in his career (1976-78) and also studied at West Surrey College of Art and Design in the UK and worked with Peter Collingwood. Today he continues to weave commissioned wool rugs and I see his work in wool with an influence of that period.
These were important visits for me and the guests on the tour. Japanese textile artist studios like these are set up in ways that are much closer to how we work in Australia. The looms can be similar and the set up reflects our tools but importantly, build on that to show us how to work well with finer yarns and dye processes. They also hold traditions for storing and transferring warps which isn’t as well known in the general British and European traditions. Read more
At Saori no Mori Osaka
Back to it! Being away with the textile tour group in Japan was fantastic. I always feel like another person when I’m away. Briefly stepping away from worries and the stresses of life, and into another world where I am largely a spectator. However there are many nice things about being home, nearer family and with my looms again. At one point in Japan I was so inspired I thought I would have to leave the group to come home to my looms right away!
Before the tour began I spent some time catching up with the Jo family and on new Saori developments at Saori no Mori in Osaka. As Dave, my husband, was with me he decided to weave cloth too. Although he briefly wove at the Bendigo show some years ago, he has never really sat down and woven cloth in the almost 40 years that I have been doing it around the place.
The cloth in motion
The cloth he wove was just lovely. Being a new weaver helps with all of that freedom. Some sections were woven with a technique that requires two people that get along and we managed that quite well!
When I got home I really wanted to make it into a garment immediately, before the magic wore off. I chose, as the basis for the design, the new bias technique that I learnt at Saori and it worked really well. There is a new book being developed for this technique and I look forward to its publication. Bias style garments fall nicely on the human body and are a good way for using for our narrower woven cloths.
Cloth is designed and woven by Dave M, stitched by me
Ellen on the loom
I’ve had lots of studio visitors over the last couple of months. Aside from planned weekend workshops I’m experimenting with the viability of day sessions now and again. Individual tuition is always available as many people want to know more about how to warp and use the loom for their own work. But it’s always nice to have a buzzing studio with everyone sharing their ‘discoveries’ and weaving together.
You’ll see lots of work ‘on loom’ but there is a feeling of elation and surprise when the cloth is cut down. But this is only the first in a set of steps to make the cloth and the finishing process really gets it all together.
Nikita translucent cloth design
Megan’s rich color cloth