Category Archives: weaving

Stunning Hand Tufted Rugs – Textile Tapestry by Alexandra Kehayoglou

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I was just browsing a link to the American Craft Council Site, when I came across this post – on their Colossal Section – have a look, the rugs are really stunning!

Native Argentine Landscapes Explored in New Hand-

Tufted Rugs by Alexandra Kehayoglou

Written by KATE SIERZPUTOWSKI – Published SEPTEMBER 20, 2018

"Santa Cruz River" (2016-2017), Textile tapestry (handtuft system), wool, 980 x 420 cm, Presented at National Gallery of Victoria (NGV) Triennial | Melbourne, Australia 2018. Commissioned and acquired by the National Gallery of Victoria, Melbourne.

Textile artist Alexandra Kehayoglou (previously) creates functional works of art that explore the natural landscapes of her native Argentina. Her selected locations are often ones tied to political controversy, such as the Santa Cruz River, or areas dramatically altered by human activity, such as the Raggio creek. Kehayoglou uses her craft as a chance as a call for environmental awareness, embedding her own memory and research of the disappearing waterways and grasslands into her hand-tufted works.

Each tapestry uses surplus materials from her family’s factory, which has manufactured industrial carpets for more than six decades. The one-of-a-kind carpets are often installed against the wall, with a section of the work trailing along the floor so visitors can walk or lay on the woven rugs.

In December 2017, her piece Santa Cruz River was included in the National Gallery of Victoria Triennial in Melbourne. The installation showcased her research behind the future damming of the river and her own interpretation of the harm that will continue to influence the surrounding area. Later this month Kehayoglou will present a new site-specific tapestry that explores the tribes of Patagonia in the group exhibition Dream at the Chiostro del Bramante in Rome. You can see more of her work on her website and Instagram.

"Santa Cruz River" detail (2016-2017), Textile tapestry (handtuft system), wool, 980 x 420 cm

"Santa Cruz River" detail (2016-2017), Textile tapestry (handtuft system), wool, 980 x 420 cm

"Hope the voyage is a long one" (2016), Textile tapestry (handtuft system), wool

"Hope the voyage is a long one" (2016), Textile tapestry (handtuft system), wool

"No Longer Creek" (2016), Textile tapestry (handtuft system), wool, 820 x 460 cm, Presented at Design Miami/ Basel, 2016 | Basel, Switzerland. Commissioned by Artsy. Courtesy of Artsy & The National Gallery of Victoria.

"Santa Cruz River II" (2017), Textile tapestry (handtuft system), wool, 205 x 150 cm

How Industrial Weaving gave us the Computer

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This is a short video produced by the BBC Future Series – worth a look!

http://www.bbc.com/future/story/20180423-how-industrial-weaving-gave-us-the-computer

punched-card-pattern-for-a-jacquard-loom-artist-dorothy-burrows-ddrtpr

Punched card pattern for a jacquard loom. Artist: Dorothy Burrows

“In the early 19th Century, Joseph Marie Jacquard invented a remarkable machine that reinvigorated the fashion industry – and ultimately led to the modern computer.”

 

Recycling Paper – into yarns for weaving!

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I found this post on YOURSTORY – about a woman in India who is making items from paper yarn – and have just copied it here.  Its a great idea!

She’s weaving a sustainable future with yarn made from paper

Teja Lele Desai     posted on 17th April 2018

pic1Neerja Palisetty’s Sutrakaar Creations combines paper with post-consumer waste to promote fair trade, craft empowerment, zero-waste, and ethical fashion.

 

Neerja Palisetty has always been passionate about paper.

“Paper is considered to be very fragile by the common man and I want to change that perception. Once woven, paper has immense potential; it’s a very strong and versatile material,” she says.

“But,” she adds, “Pulp (and paper) is the third largest industrial polluter of air, water and soil and I wanted to help avoid this,” she says.

That’s the reason she started Jaipur-based Sutrakaar Creations, which focuses on eco-textile creations made from paper and natural materials as a step towards a sustainable future.

But perhaps it was destined to be. For Neerja was born into a family of weavers in a small village in Srikakulam district, Andhra Pradesh. Ponduru is known for its fine khadi and cotton weaves, and almost every other house had a loom.

Growing up, it was no surprise that she gravitated towards weaving: she wove her first piece of yarn when a teenager. “I was in Class VII or VIII when I first wove jute and cotton into yarn for a school project. I ended up making a small pouch for pencils,” she says.

Neerja says her father, who had graduated as a textile designer from the first batch of NID Ahmedabad, was a huge influence on her life. “Influenced by him, I studied clothing and textiles during my graduate course at MSU Baroda. Later, I pursued a post-graduation course in higher education from Nottingham Trent University. Now, I have an experience of over 17 years working in the fashion industry and education sectors. But I owe all the textile design knowledge I have to my father,” she says.

 

After her education, Neerja did various jobs – she worked as a merchandiser at Tirupur in Tamil Nadu and as a design professor in Coimbatore and later Jaipur.

But Neerja lets on that through it all she remained fascinated by the art and technique of paper weaving. “There are references to paper weaving in Japanese legends. I wanted to emulate these techniques in the Indian context to promote our traditions and create livelihood opportunities for weavers,” she says.

Her own weaving studio was always a dream, even while she presented research papers on sustainable design and sustainable textiles at various international conferences. “I had the weaving studio on my mind from the time I graduated. However, life had different plans and my dreams took a backseat,” Neerja recalls.

But two years back, the experience she had garnered in these fields gave her enough confidence to pursue her dream. And Sutrakaar Creations was born.

It is a studio focused on eco-textile creations made from waste paper, recycled paper, and natural materials.

“Our products are 100 percent handmade and handcrafted, and with minimal use of electrically operated machines,” she says.

“It is also an open space for experimental weaving and I have collaborated with a few international artists and designers to create artworks and installations,” she adds.

At Sutrakaar, her weavers cut waste paper into strips of 2-4mm, twist and hand-spin them over the charkha to make thread-like strings using adhesive. This is used as the weft; the warp is either cotton or Ahimsa silk, both recycled industrial waste.

Palisetty works with weavers, four looms (two big pedal looms and two smaller ones), and women for cutting and trimming, at her studio in Jaipur. “I get more weavers if needed,” she says.

Most raw material is sourced from paper export houses and kabadiwalas.

 

The “80 percent upcycled” waste yarn is fashioned into accessories like pouches and handbags, gifting items such as diary covers and photo frames, and home decor accents such as lampshades and room dividers. Prices range between Rs 850 and Rs 10,000.

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“The idea is to juxtapose crafts with post-consumer waste so that we promote fair trade, craft empowerment, zero-waste and ethical fashion,” Neerja says.

Neerja now takes orders over Facebook and worldartcommunity.com, a peer-to-peer online marketplace. She also displays and sells Sutrakaar products at exhibitions.

Speaking about how Sutrakaar Creations has grown over the past year, she says the growth has not been tremendous, but it has been steady. “I am able to provide employment to housewives and local weavers. I started with one weaver and today I have three weavers and five housewives. People in India and abroad have heard about our products and are keen to understand the process,” she says.

She says the experience has been very positive. “When I explain to people on how we create what we create with an entirely unheard-of raw material, people are keen to understand and learn more.

The recycling and upcycling of paper

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With people – especially millennials – becoming environmentally conscious and keen to help save the earth, interest in environmentally relevant brands is at an all-time high.

“Our brand provides a one-of-a-kind solution; not just our products, our process is also eco-friendly and sustainable,” she says.

In an article on an online portal, she wrote: ”My dream is to educate more people globally to follow a sustainable lifestyle. My husband has now joined me in my work. This is our contribution to saving the earth for future generations.”

Neerja states she and Sutrakaar remain committed to driving change by designing socially and environmentally conscious products that embody vibrant, edgy, and smart sophistication.

“We ensure that we protect traditional techniques by incorporating them in contemporary designs. A few of our products are 90 percent biodegradable. And through our creations I can see we have created a small ripple in this ocean and hope to create a gigantic wave,” she says.

5%offOPENINGcelebration – your coupon expires on 28 March – use it now!

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blackshopcardJust a reminder that I am offering a 5% discount for ANYONE who places an order on my new retail website

JULZ CRAFT STORE

An Eclectic Mix of Craft Supplies, Gifts and ……

please click on the link above to if there’s anything that you might like!

Your coupon – 5%offOPENINGcelebration – can be redeemed at the shopping cart.

I SELL WORLDWIDE!

 

Review: Anni Albers On Weaving

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A 52 yr old book by an iconic weaver has been republished – I haven’t yet got a copy, but at least I have a review for those weavers and artists who might be interested!
“Albers began her artistic journey by enrolling in the Bauhaus as a painter, but she was pressured by administrators to focus on the more “womanly” activity of weaving.”
Published on Friday, October 27, 2017 – by the American Craft Council
Anni Albers Black Mountain
Anni Albers in her weaving studio at Black Mountain College in 1937.

Courtesy of the Western Regional Archives, State Archives of North Carolina

Few craft books have had as inauspicious a start as On Weaving, by Anni Albers. When she was offered the opportunity to write an essay on handweaving for the Encyclopedia Britannica in 1963, Albers (1899 – 1994) was well-established globally as an innovative weaver who had transformed the ancient craft into modern textile art. That commission planted the seed for her book, which was published in 1965, but its arrival disappointed many craft-minded readers, who were frustrated that only a handful of weavings were illustrated in color. Over one hundred weavings, examples of masterworks ranging from the ancient Peruvian to Albers’ own, were reproduced in dull monochrome.

A new expanded edition, released earlier this month by Princeton University Press, replaces the earlier version’s 112 black-and-white plates with radiant color weaving reproductions. That alone is a reason to rejoice. The afterword by Nicholas Fox Weber, a writer and essayist who runs the Josef and Anni Albers Foundation, is another illuminating addition. And if craft is a means of exploring the world for you, this travel guide beckons.

Even with its photographic shortcomings, the original On Weaving found an appreciative audience not only among crafters, but also among lovers of modernism. Albers began her artistic journey by enrolling in the Bauhaus as a painter, but she was pressured by administrators to focus on the more “womanly” activity of weaving. The book offers Albers’ memory of moving past the initial frustration:

In my case it was the threads that caught me really against my will. To work with threads seemed sissy to me. I wanted something to be conquered. But circumstances held me to threads and they won me over. I learned to listen to them and to speak their language. I learned the process of handling them.

This excerpt is marked by recollection, but the book is much more than just an artist’s memoir. On Weaving presents a taste of an artful retelling of a life, but it also reads on occasion like an encyclopedia article – appropriately, given its origins – and serves as a tribute to the ancient Peruvian weaving tradition that most inspired Albers. In all, On Weaving presents Albers as a daredevil artist, experimenter, and educator, often in tandem with her renowned husband Josef, himself a painter and educator. The preface makes clear that Albers considered her life to be first and foremost a creative provocation, a meandering adventure interlacing warp and weft, hands and mind. Albers writes, “Though I am dealing in this book with long-established facts and processes, still, in exploring them, I feel on new ground…Thus tangential subjects come into view. The thoughts, however, can, I believe, be traced back to the event of a thread.”

The fact that Albers frames a thread as a happening, a process-initiator instead of solely material, signals that this 52-year-old book is as fresh and vital as ever. It reminds us that craft materials matter as more than raw objects. From Albers’ perspective, materials are alive and on the move, speaking to us, demanding attention. Threads can take us anywhere.