This week I’ve dyed some more yarn with natural dyes for my William Morris tapestry (this time some finer yarn) which I’m doing as part of the current weave-along. So, since I haven’t got any weaving progress to share I thought I’d share some inspiration today. This week I received two late birthday gifts in the mail. They were worth the wait: Sheila Hicks: 50 Years and Eva Hesse 1965. I have long loved the work of both these artists but today they feel more pertinent to my practice than ever as I weave on my Mirrix and think about the installation work I’ll be spending more time doing in the city soon. I saw a studio work retrospective on Eva Hesse in Toronto a few years back and the volume of work that she did in the studio was overwhelming; we’re talking only things she never deemed showable, this was just her studio research/play. Ever since then I have never worried about the weird things that have come out of my own practice, knowing that every “meh” piece informs a future well-loved one. How freeing.
Sheila Hicks is a textile art pioneer (I know I don’t have to tell you! – Mirrix people are so well informed), and this book is an unbelievable record of her work and therefore a great tool for weavers. Today I thought I’d share one particular piece (well, two) that I thought those of you who are taking part in the current weave-along might enjoy. Ever since my first design class in textile art school I have been a huge fan of white-on-white textured, well anything – textiles, architecture, ceramics… so naturally this is one that jumped out at me.
The piece on the right is titled White Letter woven by Sheila Hicks in 1962 (46.5″ X 38″), and features some weft faced areas (the finer woven areas) as well as some balanced woven areas where she has woven over three warps at a time using three weft strands. The result is an unbelievably richly textured piece. This is an interesting technique to consider incorporating into a piece that is woven on a Mirrix using two shedding devices. Below is a better detail. Are you participating in the Double-shedding device weave-along? I’m pretty excited about it. Next week I’ll share my weaving progress.
On the left page is a similar approach using two colors. Equally as stunning (I love the counterchange relationship they have with each other). The diptych is titled Quadrado Obscuro-Menos Obsuro, 1961 (11 X 11 3/8″)
Until next week,