Centred around found objects and recycled textiles you’ll create fabric forms that are pieced together to make your own fibre sculpture.
Explore Cecile Meraglia's 185 photos on Flickr!
On the very first day I ever made a basket, I saw an image of a pear-shaped basket made from palm inflorescence which I loved so much. I later found out it was made by a QLD fibre artist called Jil…
* Judy Tadman is the creator of these beautiful large-scale rope sculptures. Tadman makes them using crocheting techniques. Do you feel like learning Judy’s technique? We are lucky because th…
Gunta Stölzl was a German textile artist who played a fundamental role in the development of the Bauhaus school's weaving workshop
Why “Second Chance”? This weave began in a completely different format. I wanted to use canvas stretcher bars to make a frame loom, within which I would weave a very textured and chunky tapestry. It was my sarcastic, frustrated response to how fibre art is deemed as a domestic hobby while anything painted on a canvas enjoyed an elevated status as finer art. I thought: well, then I will stick frivolous pompoms in a canvas frame and call it art. Frivolous pom-poms, you ask? Pompoms are clearly frivolous, so why the need for that redundant adjective? Because I take pom-poms to new frivolous heights. Mine are filled with yarns of different colours, thicknesses, and unexpected texture. Wool, recycled jersey yarn, fine cotton yarn, roving, threads, denim strips, tape yarn; I pack in all the fibre oddities. They are multicoloured, multi-textured, and multi-fun. In this weave, there are also the beginnings of my “interactive fibre elements”. I am obstinate that fibre art is not meant to be looked at, but rather, touched. So, I wanted to include elements that could be interactive, moved around, tucked away, pulled to the side. The slim white braided cords are this concept manifested. And thus it stayed for months. Alas, if you are visiting my Etsy shop because you know me from Instagram, you will know I can’t leave anything as it is for too long. So it was, that I got irritated by the stretcher bars, and decided to give this weave a new lease of life, by transferring it onto a brass rod, and adding a crocheted hem with cotton cords made from recycled denim. This weave measures 39cm (15.5 inches) wide and 35cm (13.9 inches) long. UNIQUE TEXTILE ART — This is a unique piece of art. I have never repeated a design, and I will not reproduce this design either. It is ready to ship, and comes with the rod/dowel pictured. All you need is a nail that is long enough to hold the dowel. Please keep in mind that the photos were taken indoor, with a warm white ceiling bulb as illumination. Depending on where you decide to hang the work, you might find the hues just slightly warmer or cooler. This piece is a unique statement that invites conversations about textures and colour palettes. It is my desire and artistic vision that it opens dialogues about waste and recycling. This is a small/medium artwork, and is what your white wall needs. (No, it doesn’t need more black and white Scandinavian minimalist prints). Hang it above your bed, in your entryway, the side of your stairway, in the living room as part of a photo gallery, above the sofa, in your reading nook… INSTALLING YOUR ARTWORK — Fibre artworks come without nails, hooks, or screws. Please arrange for the appropriate method depending on your wall material. Most of my pieces are about 300 to 500 grams heavy. For fibre artworks that are hung on a metal rod or wooden dowel, it might look curled, crinkled, wrinkled, or crumpled after you unpack. This is because of the packing and the transit. After you hang it up, check for any tangles, and untangle by hand. Pompoms can be reshaped with a few squeezes. Use a steamer to straighter the fibres, or use a wide-toothed comb. Avoid fine-toothed combs or detangling combs. After hanging, the fibres will relax and regain their original appearance. CARE — Dust the artwork regularly. A simple shake will do the job. Do not wash or vacuum clean. Be careful not to pull with force. Fibre artworks with an elaborate and long fringe are not suitable for households with curious cats or grubby children’s hands, or for locations with strong sunlight or a draft. A more detailed care guide is included in the package. PACKAGING — As you might have noticed, recycling is big on my agenda. I use recycled cartons and boxes, and only paper to package your orders. Do take care when cutting open the packages GIFT — If you intend to gift the artwork, do drop me a message via Etsy Messages to let me know what to write in the gift card. SHIPPING — Why I need your phone number — For all international customers outside of Germany, I have to provide an email address and a phone number to the courier, so that they can contact you if needed. I respect your privacy and do not save your email address or phone number; the number is only for the dispatching courier. QUESTIONS AND REQUESTS — Please contact me through Etsy Messages. Direct messages on Instagram are sometimes filtered and I might not see your messages until it is too late. I prefer not to email because using multiple channels can lead to cross-channel miscommunications. REFUNDS AND EXCHANGES — Please contact me through Etsy Messages within 24 hours of placing your order for a refund or exchange. I will conduct communication on the Etsy platform and not over instagram or email, just to avoid cross-channel miscommunication. Once shipped, I cannot refund or exchange. Under European law, you have 14 days to return a product. But you must bear the return shipping costs yourself. CONNECT — Follow me on Instagram @zoetanstudio, or go on over to www.zoetanstudio.com to view other designs that are only available on my own webshop.
Basketry, art and craft of making interwoven objects, usually containers, from flexible vegetable fibres, such as twigs, grasses, osiers, bamboo, and rushes, or from plastic or other synthetic materials. The containers made by this method are called baskets. The Babylonian god Marduk “plaited a
Sydney-based artist Michelle Robinson weaves textured fibers in vibrant hues into playful, bright wall-hangings and accessories.
It's just beginning...
Using fibers and yarns from around the world, Living Fibers creates vivid artworks that have amazing textures and color palettes.
Ko Than Hlaing weaving village - Image number _DSC8080-inle-lake-myanmar from the photo essay called Inle Weaving
Opting for yarn and rovings of raw wool dyed in natural pigments, Korean-American artist Alyssa Ki crafts fiber-based wall hangings reminiscent of bouquets and overgrown patches of wildflowers. The perpetually blooming pieces blend multiple textile techniques and are teeming with macramé, needle-felted, and crocheted botanicals that sprout from a thick, woven foundation. Hanging from a knotty branch or bound by a ribbon, the floral works are ripe with color and texture. Currently based in New York, Ki has a background in photojournalism and first started working with fiber in 2018. More
1- Gunta Stölzl(1897-1983). Esquema para Textil,curso en Bauhaus Dessau, 1927 2- Stephen Wolfram. A New Kind of Science, 2002 En una épo...
Jennifer Higgie talks to Sheila Hicks about the 60-year evolution of her artistic language
Weaving wall hangings for your Deco Friday inspiration! An absolute 70's trend is coming back, with a fresh and innovative spirit!
Someone mused on line about books about Canadian textiles/by Canadian authors. I started thinking about my learning curve, which began in 1975, and the history of handweaving in Canada. This is not meant to be a comprehensive list, just what I can remember off the top of my head. It will attempt to be somewhat chronological, but I don't know the actual publication dates of some of the books, so don't take the order as any kind of 'gospel'. The first author I think more Canadians ought to be aware of is Oscar Beriau. He is much better known in Quebec than the rest of Canada and I think he ought to be better known and his pivotal role in the development of Leclerc Looms should be recognized. His grandson has created a lovely website which outlines M. Beriau's many accomplishments, including assisting weaving groups on the prairies. Mary Black. Ms. Black is very well known, but what may be less well known is that her roots are in Nova Scotia and her papers were archived online. She, along with Mary Sandin and Ethel Henderson eventually set up the Guild of Canadian Weavers and the master weaver certificate program. Last I heard, 29 people had successfully achieved the master level, with many more working on the other three levels. This is a self-directed approach to learning - and testing - one's knowledge of weaving and it is not 'easy'. Anyone who achieves the master level has invested a lot of time and energy into it. Ms. Black's book The (New) Key to Weaving is still around, and while dated in terms of graphics and approach, is still my go-to when I have a four to eight shaft weaving structure question. Robert Leclerc. M. Leclerc wrote a small book on how to weave as a support for people purchasing Leclerc Looms. The booklet is now available as a free download from the Leclerc Looms website. He also acquired the newsletters produced by T. Zielinski, sorted the information according to topic and then produced the Master Weaver Series of over 20 small booklets that are chock full of really good information. Those books are still available for sale on the Leclerc website. As people began completing their master level program, some of them began writing books, some of them as a direct result of their master level monograph. Nell Steedsman did several booklet type publications as did Grace McDowell. Dini Moes (the only person I know of who achieved the GCW master, Boston Guild master AND the HGA COE certificate) published a book with swatches called Uncommon Threads. All of these are now out of print but still reside in many guild libraries. Linda Heinrich wrote The Magic of Linen, Jane Evans, A Joy Forever, Mary Andrews did a small run self-published book on fundamentals of weaving and of course I wrote Magic in the Water, then The Intentional Weaver. Carol James has written about sprang and finger weaving. Not weavers but historians, Harold and Dorothy Burnham became very well known for their book Keep Me Warm One Night, about coverlets, and Dorothy went on to write several other books including Unlike the Lilies about Doukhobor textiles in western Canada. Paula Gustafson wrote about Salish Weaving (there is an older booklet but I can't pull the author's name up right now) and the Museum of Anthropology at UBC (Vancouver) has done some stunning exhibits around coastal First Nations textiles. Cheryl Samuel has also written books about Chilkat weaving. I'm not too familiar with knitting, but Sylvia Olson has written about the role of knitting in coastal First Nations culture and society. Stephanie Pearl-McPhee is well known for her books on knitting. As for magazines, there have been a number over the years. Loom Music in the 1950s and into the 60s I believe. Heddle, a short lived publication that I contributed articles to from time to time, until it faded away. Now we have Digits and Threads by Kate Atherley and Kim Werker. I am sure that there have been many more, smaller publications, regional publications, but these are just the ones I could pull out of my memory this morning. We must keep our history alive and one way to do that is to remember those who have gone before. Books are one way of keeping history at our fingertips.
Post by foragedfibres
Space to Create: An interview with fiber artist Nicole Robins and a tour of her Sydney studio.
From Lynn Nickerson's class "Lighter-than-Air Fabrics" March 29-April 4, 2009. Visit us at www.folkschool.org
