Here is one of the lovely towns we’ll visit before the symposium. There are three parts of the trip and I am going on all three–one before the symposium (Shanghai and ancient villages nearby), one in Hangzhou during the BoND Symposium on Natural Dyes (where my piece will be in the exhibition), and the third after the symposium. On the first part we’ll visit Shanghai, Jiangsu, and Zhejiang with traditional highligts at Jin Ze Arts Centre.
The tour after the symposium will explore first-hand heritage provinces of minority group Yi in Sichuan, Guizhou, Yunnan and Yi Minority Aautonomous Prefecture. This area is most interesting and not so easily visited. These groups are ethnically different from the main Chinese people.
Another exhotic scene.
More from the last part.
Here is the website for Slow Fiber Studios China tour. Yoshiko’s trips are fantastic. She knows so many people and we visit textile people, not just tourist sites.
The Chinese National silk Museum is in a huge and beautiful building.
Here is one of the exhibition spaces. I wonder if our show will be there.
Now I have my business cards made–It is beginning to feel like it is really going to be.
I am going with my very favorite tour guide, Yoshiko Wada, with Slow Fiber Studios. There are two tours with her plus going to the BoND Symposium. The tour before is around the area of Shanghai and the tour after is to the Yi Minority Autonomous Region in Southwest Cina. Yoshiko’s trips are THE BEST. If you’ve folled my blog you know. I think registration is still open. Contact Slow Fiber Studios.
“Colorful World: Overview of Natural Dyes” The First Biennale of Natural Dyes
The advent of synthetic dyes in the 19th century has brought a steep decline in the centuries-old productions of natural dyes around the world. The beginning of the 21st century, however, saw a revival of interest in natural dyes as more people turn to nature for solace and harmonious living. Now, many international communities are advocating the use of natural dyes in modern practices and promoting researches on ancient dyeing techniques. In recognition for these artistic and scientific endeavors, the China National Silk Museum (CNSM) organizes the first biennale of natural dyes, with an aim to embrace the beauty of nature, as well as to explore the ancient wisdom and knowledge embodied in the traditional craft of dyeing.
My mobile is 9 feet tall. We had to rent a photo studio to be able to take pictures for the entry. All the pieces are dyed with natural dyes: indigo, green persimmons (kakishibu) and black walnutes.I dyed lots of different white fabrics to get so many shades of colors.
It was exciting to be in a real photo studio. The Image Flow Photographic Center has this studio is in Mill Valley. There was equipment all over the place and being there made it possible to get these great photos by my photographer, Bob Hemstock.
The bamboo structure on top is constructed like an Alexander Calder mobile. Until we got it permanently balanced and held in place, it got knocked down time and time again whenever anyone touched it to rotate the pieces. To have it change sides and rotate in the air currents we used 7 fishing gear swivles.
A detail with mostly green persimmon dye. The Japanesse word is kakishibu. I got many colors and shades with it. I have quite a stash now of white fabrics that take the dyes differently and I have figured out ways to get mottled looks. The transparent blue fabric peeking out from the back side was dyed in my indigo vat.
This detail shows how I took shiny silk and turned the pieces 90 deagrees so the light caught it in different ways–similar to nap. I liked the way the fabric looked when it wasn’t ironed completely flat. That makes it shimmer more I think. Wish me luck at getting accepted into the international show.
Every day on my weaving tour of Japan and thePhilippines I will repost all of my InstaGram posts here on my blog. I hope you enjoy my adventures.
My blog, Facebook, Instagram and email notices are not behaving well together so if you are viewing this in FACEBOOK just click the post text to see the full post (with photos) on my blog. If you are viewing this in an EMAIL just click the post title to see the full post on my blog.
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.
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]
Nationally, people have known me for my teaching and instructional books about the art and techniques of weaving for 35 years. Few people knew that I was creating art pieces during this long period of time. Now I fee it is time to share my work with art lovers.
I have been interested lately in weaving sheer cloth. When I went to Japan in 2013, I wanted to make something that would show how sheer I could weave cloth. That is how I got the idea of weaving my bookmarks. I enclosed them in a package because I knew that the wrapping of gifts is very important to the Japanese. I received a lot of very good feedback.
In Japan, I fell in love with a book that had gorgeous holes in the pages where bookworms had eaten the paper. I treasure that book today. I brought home other books with interesting calligraphy that I thought I might use somehow with my weaving. It was a long time before I realized that my bookmarks would be perfect with their pages. Some of the pages are poetry and some are practice pages for brushwork for calligraphy.
I love old textiles for the home, too, and grew up with rag rugs in my mother’s home. When I saw these rag balls in an antique store on Bleeker Street in New York, I was completely smitten and had to have them. I can image the woman who carefully cut the strips and hand stitched the lengths together and them wound these tight balls. All this was in preparation for weaving a rag rug.
I hesitated to unwind the balls to weave a whole rug, but wove these small pieces. I loved handling the “rags” of old, vintage cloth. I added my personal touch by weaving in horse hair, a material I have been using in recent work. [click first photo to enlarge]
There was a small but smashing exhibit of fragments that everyone was told to see and it was superb. “Fragmentary Tales: Selections from the Lloyd Cotsen Textile Traces Collection” . The pieces were mounted in what looked like foam core board with windows cut out for the textiles that gave each one a presence so it could be appreciated. This is how I mounted lots of my study pieces when I was teaching. I put a Mylar cover on them that could be lifted up and the textile lifted out. That was how the Met was mounting things in their collection at the time. Here are the ones that I really loved: A velvet from Uzbekistan, an African piece, an Italian Velvet and a scaffolded piece from Peru–the likes of which I’ve never seen. The contemporary piece with horse hair by Debra Warner, “Opens a Window”, especially inspired me. [click photos to enlarge]
On Sunday we took a post symposium tour to San Diego’s Mingei International Museum, to see the show that opened the night before. Kay was there to greet us and she and Signe Mayfield took us on a gallery tour. The show is gorgeous and has lots of work from both Kay and Bob. There were pieces that I remember seeing on exhibit when I was getting started in the mid-70’s. I’ve always admired her work–it is beautiful and it is woven. These two pieces are well known and it was a treat to get to see several of them in person again. In the afternoon Melissa Leventon gave a talk about Kay’s work. I was thrilled to tears that Melissa reconized me by showing my ruffles in the last slide. It was to show Kay’s influence on the artists coming up.
Today it was pointed out to me that in the September issue of Where LA Magazine a photo of my ruffles is on the Guide front page highlighting the TSA Exposition show. Click the page thumbnail to the left to see a PDF of the page.
I am exhausted: full to the brim with information from the lectures and many textile people. It is really something to be around a few hundred people all interested in textiles and probably most of them experts in one aspect or another.
I went to the sessions dealing with textile artists. One was about the beginning of the textile artist movement with a show I remember seeing in 1971: Deliberate Entanglements which started in California.
One session was about the legacy of two artists I adored: Lillian Elliott and Joanne Segal Brandford. A YouTube video documentary was shown and I highly recommend it.
The other session was a panel discussion: The Masculine Mystique: Men in Fiber Art. It was excellent. Please Google them. Their work is really interesting. Joe Cunningham is a quilt maker.
I met two former students who are very accomplished. Serena Lee, from San Francisco, was my Home Ec student when she was in the seventh grade. She is giving a lecture at the symposium about ethnic dress of the Lolo/ Yi groups across the Vietnam- China border. I heard her practice her riveting talk this morning. She leads textile trips to that area of the world and is an expert on the various ethnic costumes.
Laurel Wilson, PhD was my weaving student in New York where she became interested in textiles. Her dissertation is ” ‘De Novo Modo’: the birth of Fashion in the Middle Ages”. She is passionate about her research and has given lectures around the country. Her concentration is on 14th century and how the introduction of the horizontal pedal loom in the 11th century caused big changes in class structure , gender relations, and ultimately the birth of fashion in Western Europe. It was fascinating to listen to what all she had to say.
I sat under an umbrella this afternoon with Zvezdana Dode from Stravropol, Russia who I met on the Italy trip. She is working on a book : ” ‘Silk Horde’: Costume and Textiles of the Mongolian Empire”. She is also giving a paper here at the symposium and was so interesting to talk to. So, there are a lot of experts here and everyone is passionate about textiles.
Tonight was a reception with the menu planned by Alice Waters. I was thrilled to have the rest of the world experience her local grown sustainable foods. There was an almost full moon and lots of interesting people. It was really nice when someone I didn’t know knew my name.
Adela Akers was the Artist In Residence at our deYoung Museum in San Francisco for the month if August. There were about a dozen of her perfectly lovely woven pieces on the walls, four clear glass partitions, her big loom, and large tables where visitors could try out her techniques. She was generous in explaining in as much detail as we wanted exactly how she created the work from the weaving, painted warps and sewing on small strips cut from foil caps on wine bottles. Her use of horse hair in the weaving is stunning. The glass partitions had beautiful images of her work from the 60′ s and her current work. One showed a video showing her process in detail. The reception was at night and the images were reflected on the floor as well. These photos were taken by Bob Hemstock, my computer and web guru. [click first photo for slide show]
I discovered the catalog for the show by accident last night when a friend emailed me to say it was a nice catalog. And it is very nice. But the best part is that there is a catalog at all–that makes the show have more meaning and importance. Also very nice are the nice words at the beginning and each artist has a whole page. My page is Page 16.
“The Craft & Folk Art Museum is proud to host New Directions: A Juried Exhibition of Contemporary Textiles, featuring current technical, aesthetic and structural innovations in textile art.” “The illustrious jury panel selected 19 established and emerging artists whose work reflects the shifts and future movements in textile art.” Suzanne Isken, Executive Director, Craft & Folk Art Museum
The TSA show in Los Angeles is getting pretty close. Today we sent off the files for 4 postcards that I can hand out to people at the show and at the conference. We will drive down on September 9 to hand deliver my piece: Four Veils. I’m thrilled with the cards and am getting excited. New business cards are in the works as well. Photos advance automatically.
Four Veils (detail) Peggy Osterkamp click to enlarge
I just found out that my Four Veils were accepted in the big, big Textile Society of America juried exhibition which is in conjunction with TSA’s first ever New Directions Symposium in LA in September! Hooray! Only 19 works were selected from 400 entries! This is a very big thing–the jurors were the top of the line (Gerhardt Knodel, Matilda McQuaid, Carol Shaw Sutton, and Tali Weinberg) and the entries were from textile artists who have exhibited regularly. I hope this will be the beginning of a new phase where my work is shown in more galleries. Please see a video on how I make the ruffles.
Here is a short video of my reception at the Room Art Gallery. The gallery was packed most of the night. It was wonderful seeing all of the loving and supportive people on this fine evening in Mill Valley.
Here is a gallery of still photos from my reception. The gallery was packed most of the night. It was wonderful seeing all of the loving and supportive people on this fine evening in Mill Valley. Look here for a … Continue reading →
Peggy Osterkamp’s Woven Art Exhibit > click to enlarge
My exhibit is up and I’m very proud of it. If you can’t make it to the opening on the 8th, remember the show is up until the end of January and the gallery is open Tues.- Sat. from 11:00 to 5:00. I’d love to see you at the reception or maybe we can make a date to meet at the gallery and have coffee or something. It’s in a wonderful location in downtown Mill Valley, California, across from The Depot and next to Pete’s Coffee. Here are a couple photos. I’ll have more of the reception.
My ruffles are now hanging in the window of the Room Gallery and they look great and are lit beautifully. They will be up for December and January. My own solo show will be for the month of January. The … Continue reading →
Weaving the Ruffle – Peggy Osterkamp > click to enlarge
Here is a close-up of what the ruffle I’m weaving is supposed to look like. Who knows, I may vary it, but this is the plan. I’ve woven ½ of it so far—74”. I’m enjoying it and the patience needed as well. I have to check for symptoms pretty often to catch a broken thread or let down the selvedge threads, etc. (I usually weight my selvedges separately.) The weft is so fine that it breaks when I pull the shuttle out of the shed fairly frequently. I thought about putting in a colored thread to mark all the weft breaks, but it became too cumbersome. I do repair the warp threads with a blue sewing thread. It gives a little variation, but it makes it so I can see what I am doing.