My trips to Japan always include time at Saori no Mori in Osaka. It’s a time to catch up with what is going on in the Saori world, learn more ways of working on the threads and just delve into my own weaving time. I always meet new people and learn my way around the area a bit more everytime.

It’s a suburban area of Osaka and the nearest station is Kōmyōike. Even though I’ve been to Japan five times I am still coming across things that take me aback. At a supermarket near Komyoike there were a whole lot of bikes parked out the front, some with backpacks or personal belongings in them. The bikes were just all there and no one seemed to be stealing them like they would here. I was later told there is a lock on the wheel but still it was an amazing sight. On dusk lots of people were casually bikeing around and were able to leave their bikes and belongings outside stores. It was one of those nice moments that I have encountered in other parts of Asia too.

Saori no Mori always oozes that warm, inviting feeling and invitation to just sit and weave. Similar to sit and meditate. The Jo family and staff are very approachable, warm and friendly, which must be difficult sometimes when they have so many visitors both from Japan and afar. The studio is their life’s work and Kenzo is certainly there everyday with his uplifting humour. There is a memorial to Misao Jo surrounded by pieces of woven Saori cloth that her work and ideas have made possible on an international scale.

For my part I went a bit crazy on the Saori Art Yarn maker. Yes, I had used it here but nothing beats Kenzo showing you how to really do it! We used elastic and wire, we used extra twists to make Kumihimo like quality cord …we went beresque.

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When I first walked into the studio I got to do real four shaft Saori! Four shafts change the offer of flexibility and creativity in my view. It requires another mind and style.

The loom was already threaded and woven on by several other Saori studio owners – Laura and Terri and others. It is always nice to be involved with a cloth connection. The loom was threaded in a very random way producing some lines of conventional twill which was denied the ability to look structured and sensible by the randomness of most of the threading. The tie up was also thrown a curve ball by just using a skeleton tie up. Dropping off two of the pedals and preparing to dance on the pedals, two or more at a time.

Yes it was great to do and the result had a good feel.

Next I went onto the no reed weaving and tried out some different combinations of wefts to see where I go. I think Kenzo was wondering what I was doing at one point. He always has interesting and helpful advice in his teaching so I stop and look too.

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I’ve done many of these types of weaves before but I always learn more when I’m in Japan. I think it’s the permission to weave and focus on just that in the style of practice that Saori is. Similar to meditation, I just have to do and wait, explore and keep going.

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So keep going I did and more comes to me, and sometimes not. ‘Just keep going’, I tell myself.