In my last post I showed some work that has inspired me and this time I’ll show some of my own work that resulted. [click photos to enlarge]
I have used horse hair in quite a few of my pieces, especially in my sheer pieces I called veils. Here are 5 I made to hang separately or as a whole.
Here are two details.
Another detail that shows a cow’s tail I wove in.
These photos are of a table runner in linen where I flattened the warp threads using a rolling pin on a bread board.
The detail gives an idea how silky and shiny it looks in the warp face areas.
When I was living in New York in 1983 I began volunteering in the Textile Department at the Cooper Hewitt Museum (now part of the Smithsonian). Milton Sonday was the curator and a wonderful mentor for me. He introduced me to Ethel Stein and I visited her home and studio one day. She taught me the secret for using the warping paddle and was friendly and generous with her time .
She had just finished building her drawloom after figuring out the mechanics to make it work. She began with a countermarch loom and converted it to the drawloom after studying damask fabrics at the Cooper Hewitt with Milton.
thel-Stein-Moon-Wall-2008-The-Art-Institute-of-Chicago-Gift-of-Ethel-Stein-c-Ethel-Stein – click to enlarge
Her woven work is beautiful and especially so given that she didn’t have a computer or computer generated drawloom at that time.
I was thrilled to find this video of her working and think you’ll love it. I hope to have a video of me working to play at my memorial some day! Other weavers might consider doing the same thing.
I had accumulated a large pile of fabrics I collected for collages and it was growing uncontrollably. I decided to organize them by value. That was too foreboding at first so I sorted them by color (hue) then I took each pile and took out the light ones for the box of light-values.
Next I pulled out the darkest value ones for the dark box. That made it easier to fill the medium box.
The fourth box was for larger pieces of cloth.
What fun. But I sure had a backache after all that working with piles on the floor.
In Japan, one always gives a gift when visiting someone. When we visited an artisan or maker, we always gave our more “important” gifts.
Our guide took us to visit Kubota-san in Kyoto, a stencil dyer. We had a lovely time visiting after seeing his studio where they were printing a kimono-length piece of cloth. When I gave him a silk handkerchief I dyed after folding it an interesting way and then doing arashi-shibori (pole dyeing) in my indigo vat. He was pleased and immediately put it into his pocket! I had been worried that it wasn’t useful, just a unique piece of silk!
This is the way Japanese often wrap things. I realized I had a little collection and displayed them in the window of our gift shop. I use them often when carrying things. The big one is really useful for carrying things to a pot luck. I also am using it now while carrying my work back and forth from the studio. I think I bought them when I just liked the cloth. Often the cloth is two-faced—that is, woven with two different colors or patterns on a single piece of cloth. Most are crepe—they stretch so nicely to tie.
They are easy to tie this way. You just set the object diagonally on the cloth and tie the opposite corners in a knot. The knotted ends form the handle for carrying. I have seen several books with different ways to wrap things with a furoshiki—even a wine bottle!
My first one is the big one given to me when we visited a stencil dyer long ago—in 1967. I’ve never found that dyer on all the trips I’ve made after that.
At a flea market I found the tiny ones—couldn’t bargain the seller down! One we bought at a sale in a department store. I’d seen one for a hundred dollars in a special natural dye shop. At the sale I got it for a “song” after pawing my way through a pile of furoshikis along with other women looking for bargains.
Many years ago I took a class in damask and learned about satins and I focused on warp face and weft face and color. I don’t know why I thought I needed 11 yards, but I made the warp that long. I would say it was about 15” wide. The warp was blue and grey out of 20/2 pearl cotton. The threading was 2 blocks and then I played with how colors mixed and looked next to each other. I still have a large stash of a lot of colors and shades of sewing thread which I used for wefts.
Since I was playing, sometimes the “right side” was on top and sometimes the “wrong side”. Of course there was no repeat!
When I showed it to my students one day Antione Alexander said he could make a coat out of it. The next week he had a muslin and the next week the completed coat! WOW! Later I had a seamstress put in interfacing and a lining. I wore it to the symphony a few weeks ago and have gotten nice compliments every time I wear it. I really feel I lucked out! I think he did a great job.
I took a workshop with Yoshiko Wada’s Slow Fiber Studios in Berkeley, California recently. We learned to fold cloth in origami-like ways and then we did arashi shibori (pole wrapping shibori) with the cloth and got these lovely simple patterns. The teacher was Chris Palmer and his book is called Shadow folds: Surprisingly Easy-to-Make Geometric Designs in Fabric by Jeffrey Rutzky and Chris K. Palmer. I folded and dyed 11” silk squares I got already hemmed from Dharma Trading Company. This was my first attempt at arashi shibori and I used my own indigo vat. I am proud of the results for such a novice. They can be used singly or as a group as pieces for the wall or gifts. I took small pieces I’ve dyed and made little collage compositions and mounted them on squares of dark indigo linen I got in India a few years ago. We went to see the Matisse and Diebenkorn show yesterday and I decided to call these pieces “My Little Diebenkorns”! They can be used singly or in a group, too. I have put similar pieces in CD cases to present them! They also could be little coasters or gifts.
I had really nice responses to my previous post which showed details of my new collage wall hangings with my dyed fabrics. Now you can see what they are like in reality. There are seven–all 11″ wide and 36″ long. Now if you want to see details again, you can go back to the first post. Click on these thumbnails to see them full size then click again to see the detail.
I’ve been making hangings using my dyed fabrics. Indigo for blues, turmeric, saffron, and henna for yellows, green persimmons (kakishibu), for pinks and browns. There are 7 hangings. I’m showing one for reference and then detail photos. I loved putting the pieces together.
Each composition is made up of fabrics that were in the same dye pot. The differences in the tones are due to the different fabrics I put into the pot. I love these subtle “colors”. The yellows were from woad plants. The browns were from green persimmons over dyed with indigo. I especially find myself liking things that have almost no color at all. One of these is from oak galls. I can’t remember all the specifics but I like to put dyed fabrics in a bath of iron water to “sadden” the color.
I’m weaving 125 fine threads per inch so I can weave another ruffle (see my gallery) which I will shibori dye with indigo. Then the ruffle will disappear and appear in the dyed and un-dyed areas. [click any photo to enlarge]
I’m trying to weave with finer-than-ever silk threads. I should have starched them first but didn’t because I didn’t realize it would be necessary. That would have made the threads stronger. There are 125 threads per inch and I made more threading errors than I’ve ever made in my life. I have spent hours correcting these almost invisible threads and have lost a few and a few have broken –there are 16 threads to date that are hanging off the back of my loom and I expect I’ll have more as I weave along. Here is a close up of the weaving and one broken thread pinned in. (I’ve been mending the threads with sewing thread so I can see them.) I used this stand which I’d used when I was weaving velvet to rig up a way to keep all the threads from tangling. Knowing that the only thread that can’t tangle is one under tension this is what I did. I took the threads as they came from the warp beam and made a cross to keep them in order.
Here is a close-up of the cross I made to keep the threads in order. To further keep them in order they went through this grid.
Here is how I tensioned the threads. These are fish net shuttles I used when weaving velvet.
People have asked me why I am buying something on a trip and what am I going to do with it? My answer has been (to myself) “to have it”. I got inspired to really put away my textiles honorably when I visited a friend I met on the Philippines trip. Here is the result.
Japanese fragments & piece from an obi made of cocoons. Old blouse from Philippines, white wool piece with henna from Morocco, old tape loom. (I had the bars put up when I moved in 6 years ago.)
Textiles on shelves and in drawers in sideboard.
Blouse from Philippines, belt from Morocco, under kimono from Japan, narrow pieces from Japan, ikat hanging by me.
Drawers in tansu with scarves. Other places for my pj’s, etc.
Scarves in drawers of tansu chest. I need discipline to put them away after wearing them.
Japanese things. Ceremonial kimono with fireflies design, obi made with fan reed, tea pot with fish lever to adjust height. Art piece by Adela Akers.
Case with earrings and hair pieces from the Philippines. combs from India, Collage by Milton Sonday, textile art by Adela Akers. Japanese sake bottle and vase.
Peggy Osterkamp’s Knitted Yarn People – click to enlarge
I stayed up late Christmas Eve to make these yarn figures–had one more to do Christmas morning. They were so much fun and I’m glad I can keep the doll clothes for myself for awhile. I stuffed them with little bean bags I made out of old socks. The stuffing came from old pillows –one with grains of rice and the other, rice hulls. I had a mess to clean up when one or another tipped over in the making.
Knitted Doll Sculptures > Peggy Osterkamp – [click to enlarge]
I intended these doll clothes I have knitted over the year or so to be Christmas presents. When they turned into art sculptures I knew they needed to be in a group and that meant as of two days before Christmas all of a sudden I didn’t have my gifts anymore! I had planned to make one of the dresses into a paper weight for one gift but when it became a sculpture and I was out of that present. Another dress was a gift, too. I was out two at the last minute. I won’t say how I resolved my dilemma but the next post will show my little people standing upright in a group.
Here are photos of my show that is up now until December 4th at the Belvedere-Tiburon Library. It’s a lovely venue–really feels almost like an art gallery with the exception that if there is a meeting or activity in the room, no one can see the show.The opening reception was a big success. I made a list of the times the show is available to view for the month. If anyone wants to see the list of times, I can email it to them.
We are going to hang my new work in the gallery in the Belvedere-Tiburon Library today. The opening reception is tomorrow from 6-8 pm in beautiful Tiburon, California. Please stop by and see it. It will be on until December 4, 2015.
Now I have all my pieces for my solo show in November done! We hung the Boro today on my wall –the first time it’s been hanging on the board with Velcro I made. Before it was always pinned up on my studio wall. It’s hanging well, thank goodness. The safety pins that hold the three layers together take the light nicely, I think. The blues are all fabrics I dyed in indigo. The brown pieces are from a thick, stiff textile sack used in making sake. I got it in Japan and loved the tannin effect of it.
Now, all that’s left to do for the show is the pricing, inventory lists, contact list and sending out the invitations. I love them–you’ll see it in a post nearer to the opening of the show.
I dyed several pieces I’d woven out of the sheer silk threads that collapse and was thrilled with the results. There are a few more but since they are a dark indigo, they don’t show up as well as in person. I’d woven the pieces in various ways to encourage or control the collapse areas. However, that was a few years ago. When I put them in the indigo dye vat, they all were flat. What wonderful surprises I got.
The reason I call them caskets is the mounting I’ve done. One of them shows the piece in a frame—the frame is made of very thick foam core board for the depth and covered with a frame of mat board with beveled edges on the window. The pieces themselves are stitched to a backing piece of mat board. Then I put a sheet of Mylar over the top and held it in place with a few stitches in the corners. Thus the pieces are protected and encased but in a simple way. They could be framed more properly later. I plan to show them this way in my show at the Tiburon Library for the month of November.
Note: I had a professional framer cut the foam core frames and the top mats. I stitched the pieces themselves to the mat board on the backs and cut and stitched on the Mylar myself.
If you click on the images to enlarge them you can really see the loops and textures better.
I’m thinking of making a book with small pages of my own woven cloth dyed in indigo with clamp resist. The cloth is sheer silk I wove in a crepe weave. It is flat when it is woven and doesn’t crinkle up until it gets wet. Sometimes I wet the cloth before dying and sometimes I let it crinkle when it got wet in the dye vat. This is great fun. The pieces are mounted on small pieces of cloth about 4 1/2″ square. I love these little miniature patches and can’t wait to begin stitching them down.
I arranged all the cloth pieces I’ve been dying in the indigo vats from Yoshiko Wada’s Boro workshop to make my own large “boro futon cover”. All the pieces are pinned to a flannel sheet on my pin up wall. Now, the hard part comes: how to get it off to stitch it to a backing fabric. I’m thrilled with the whole process and can’t wait to start stitching.
If you are viewing this in an email you may not see everything I put in this post, for example, a photo gallery. Please click the post title above to see the whole post.
Yoshiko wanted us to be able to make our own indigo vats at home and her method seems doable, even to me. I am so excited about what we got in the class (and an extra day on our own) that I will surely make a vat of my own. You can see from the photos why I’m so excited. We did clamping and stitch resist and dipping multiple times. I dyed pages from an old Japanese book I have and scraps of my own weaving and a wonderful white silk cloth that I bought long ago to make an outfit.The picture of the used clamps just look nice and arty, so I included it. More of our dying results are in the previous Boro class post.
Here it is: the video of my ruffle mobile. The three short ruffles are about 18″ long. I like it a lot; however, the juror did not and rejected them. I don’t like to be rejected but like the mobile so much more. Please click the YouTube logo to view in HD on the YouTube page.
Peggy Osterkamp – Ruffles in Motion – [click to enlarge]
It was thrilling to see these little ruffles float and rotate in the air today when they were photographed. I am entering this piece in a show–deadline is day-after-tomorrow. I hope the juror likes it. (I don’t like being rejected). Submitting entries for juried shows is really hard for me. The technology needed to fit all the requirements is daunting. Thankfully I have wonderful help. A video is coming soon. It really looks nice as the components spin around independently.
Lisa’s work stunned me, thrilled me, inspired me. The pieces represent pages from books with zipper teeth for the text and a little embroidery for the images. Ethereal “pages” she skillfully made by machine stitching then dissolving the medium that she stitched on. They are glorious. Some works were done on old linen cloth, but I liked the gauzy ones best. There was story attached, too, which added depth to the whole experience.The exhibit at the Seager/Gray Gallery, in Mill Valley, CA, closes on October 30 and is not to be missed. [click first photo to see slide show]