Wedge Weave

Here is the piece I started in a workshop I recently took at Convergence.  The class was on wedge weave taught by Connie Lippert.   I have always been intrigued by the wedge weave technique; it goes to the side of me that enjoys the unexpected and pushes the unconventional.

When I finished the piece it reminded me of seeing the Colorado River from the North Rim of the Grand Canyon; hence the title.  I unwound the warp on one edge to give it a more flowing - less rigid appearance more like the feeling I had when I looked down at the river from up high at Cape Royal; like looking down from a cloud.

View From Cape Royal

To me one of the wonderful things about wedge weave is that the edges are not straight.  They curve in and out. And you can make them curve in different ways.  Yes, I do like curves...circles show up in many of my pieces.  I had expected that I would really like wedge weave due to those curves...but to my surprise I did not.  It has taken me a few days however to figure out why.  It turns out that although the edges turn out curvy; the entire woven portion is all straight lines.  For two days I wove straight lines which felt quite controlling and methodical with most of the creativity coming from the selection of the yarn color. I am not a "color" person...but more of a 'structure' person.  I think the most fun was weaving the hole in the middle of my tapestry.

However, I am still curious about wedge weave.  I am going to try another piece...this time adding some curves...



PS

I have always found it "interesting" that the first thing most weavers do when they evaluate a weaving is to look at the edges and see how straight they are.  The straighter the edges the better.  How straight the edges are exemplifies the technical expertise of the artist and how good the weaving is.  We are taught to weave straight edges.  How many times have you heard that a sign of an experienced weaver is straight edges?

There was this weaving in one of the exhibits in Long Beach during Convergence - a wall hanging ...not a scarf or table runner.  I over heard several people say they didn't like the piece because the edges were not straight and the bottom was not 'finished' in a straight manner.  I thought that was one of its strong points giving the piece an organic and more free flowing appearance.  I guess I was looking at it in its totality as a piece of art vs. evaluating the artists technical ability.  Who knows, perhaps the artist could weave a straight edge but chose not to in this piece in order to add a layer of meaning to the piece.

I think we do a dis-service to our chosen field by dismissing pieces based on their edges and not the totality of the work.

Tapestry & Poetry

I finally have a moment to breathe.

Reading a Tapestry Poem
Ode to the Ocean by Nicki Bair

It seems like I have been running at full speed since the beginning of the year.  In six months, I have had an article published in Handwoven, spoken at the San Diego Guild, been interviewed about my piece in Small Expressions, did all the prep work to be up in nine exhibits this year, did all the photography and design work for the Pacific Portals catalog and finished three tapestries for Rita's Excellent Adventure told in tapestry...and the list goes on.  

I really look forward to going to Convergence and kicking back, taking workshops and just hanging around. Even more inviting is August, when I can just sit around in my studio and get some things started on all my empty looms.

I am hoping some downtime will also stir my creative writing which has been at a standstill all year.  When I am racing around to meet deadlines the creative juices simply do not flow.   I had a bit of down time docenting at the Timeless Textiles exhibit in Camarillo where I have two of my tapestry poems; one that addresses the fragility of the ocean and the other which addresses erosion.   I'd like to do another series of tapestry poems; they seem to really engage the viewer who must spend time figuring out the letters which are woven into the tapestry, stringing the letters into words and then reading the poem.  I, probably like most people, read poems too quickly.  Poems are meant to be read slowly and savored.  Each word is important and is carefully selected.   Often the sounds of the words selected add meaning to the message of the poem.   I find writing poetry slow...similar to weaving tapestry.  Both a slow mediums...the perfect combination for me.

Now that I have a moment to breathe, I need to find that stirring in my heart which will bring forth the words of the poem...perhaps this moment is it.

Rita's Excellent Adventure has Popped Up in Long Beach!

Rita's Excellent Adventure told in tapestry is a story about a young sand crab that loves purple plankton.  One day she heads out on a current to find the best plankton in Santa Monica Bay and has an adventure which is illustrated with 20 tapestries woven by six tapestry artist.  I wrote the story in verse and with five other weavers in the Seaside Tapestry Group we spent a year creating the tapestries.

It's Rita by Nicki Bair

It's a fun exhibit.  The first time around the room you read the verses and see how the artists have chosen to illustrate the story in tapestry.  And perhaps you discover Rita's eyes staring back at you from a spot hidden in a tapestry or two.  The second time around you notice how the frames on each tapestry use the same yarns but look different.  Each frame is at a minimum 1/2 inch wide but no more than 1 1/2 inches wide but then the creativity begins. Each frame is different.   Next you step back and try to guess which tapestries were done by the same artist; can you recognize their styles?  So many layers to a single exhibit!

It was wonderful to be selected for a HGA Community Exhibit as part of Convergence Long Beach 2012.  The gallery space is part of a program that Long Beach has which converts vacant commercial space into pop-up galleries thereby creating excitement and activity in the area. And of course, it makes the vacant building must more attractive for potential buyers.  The space for Rita used to be a bicycle shop.  

From a fiber standpoint the great thing is that there are three of these pop-up galleries within blocks of each other on Pine St., so if you go see one you get to see three fiber exhibits.  Just a half a block up is Designing Weaver's World of Fiber exhibit and a block or so away is Susan Mcghee's exhibit of woven metal at 555 Pine St. 

I did find out the hours in the Gallery Guide were incorrect.  The three galleries will be open this coming Friday, Saturday and Sunday starting in the evenings.   Then during Convergence Long Beach 2012 the gallery will only be open for the big reception on Friday July 20th from 6 to 10pm. 

Timeless Textiles

I attended the opening reception for the Designing Weavers exhibit, Timeless Textiles.  It was at the SCIART Gallery in Camarillo and the exhibit will be up until Saturday July 28th.    I thought it was one of the best shows I've seen at that gallery.  The juror Dale Gluckman did an outstanding job in selecting the best pieces created by the Designing Weavers members.   This fiber exhibit simply pops with a diversity in composition, technique, material and color.

My husband took some photos... here are a few to give you the flavor of the show...but you should definately drop in.  It is well worth the trip.

By Michael Rhode

By Nicki Bair

By Sandra Rude

By Nadine Spier

By Julie Kornblum

By Heasoon Rhee

By Sofi Khachmanyan

By Deborah Jarchow

My Beetles & Me

I was interviewed by a docent, Debby Thompson about my piece in Small Expressions at the Long Beach Museum of Art.    If you would like to hear and see more about my piece, my studio and me check out the YouTube video she created based on the interview.  I think she has done a wonderful job.  What fun to have a hobby like video and to be able to combine it with a love of art to meet, interview and share  in depth insights of artists showing at the Museum.

http://www.youtube.com/watch?v=9mXiLJnYkJk

 Enjoy!