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Exhibition: Woven/Unwoven | Laura Thomas

Woven / Unwoven is a major new exhibition of artworks by Laura Thomas at Ruthin Craft Centre, open from the 30th September – 7th January 2024.

The exhibition represents a distillation of all of Laura’s areas of interest in working with thread, making both woven and unwoven works. The transformation of passive threads, held taut on a loom to be woven into a fabric or placed into position to be encapsulated in glass or resin has kept her transfixed for over two decades and is at the very root of this collection of works.

Laura uses threads as lines to evoke what captures her attention in the world around her whether that be coastal horizons; the edge of a hillscape where land meets sky; a full moon; or the minutiae within coastal strata’s and sand patterns that have captivated her since childhood.

Untypical weave structures have always been a hallmark of Laura’s practice, and are indeed fundamental to this new body of work. Many of the textiles are open Spanish Lace constructions, or sparse leno weaves, with selectively cut weft floats allowing for views through the surface at what lies beyond. Rya knots and cut corduroy’s create inviting surfaces evoking coastal grasses and furrowed fields.

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Weave Designer Profile: Fiona J Sperryn

‘Scapes Series’

Fresh from London Craft Week…

‘The Cornish landscape always evokes an emotional response in me. The sun dazzling off the water, the splash of the sea, the salty breeze on my face, the call of the gulls. In ‘Scapes’, I’m responding to these sensations, escaping into my imagination, conjuring a landscape’.

Fiona J Sperryn’s recent body of work has been developed on the TC2 digital jacquard loom from her original mark-making. The creative journey started with dirty charcoal drawing outdoors, using local materials and responding to the essence of landscapes visited and imagined.

This was followed by photography and scanning, a clean digital translation into the coded files recognised by the loom. Bobbins were wound with multiple strands of colour and the pieces were handwoven,  indigo dip-dyed and painted once off the loom.

The largest hanging in the ‘Scapes’ series measures 76 x 170cm and the smallest pieces 18 x 15cm within 28cm frames made of recycled ‘Polcore’. Continuing Fiona’s  work with colour blending on the loom in this series, strands of yarn of varying thicknesses are used together with subtle grading of tone and colour as each piece progresses.

The artworks are handwoven using mainly industrial ‘deadstock’ yarns, which include tencel, linen, bamboo, rayon, silk and cotton. It is important to Fiona to limit purchase of new yarn and the creation of waste.

The series was recently exhibited as part of London Craft Week with Future Icons Selects at the Oxo Tower Bargehouse alongside 70 artists and makers, including a number of tapestry and hand weavers.

Fiona hand weaves her artwork in a rural studio in Cornwall and is an active member of Design-Nation. She produces woven pieces to commission for artists and designers.

Fiona additionally offers expert tuition in digital jacquard weaving on the TC2 loom in her studio and is a lecturer at Falmouth University.

Contact: Fiona J Sperryn
IG: @fionajsperryn
FB: Fiona J Sperryn Art

With thanks to Fiona for the text and images

The Experimental Weave Lab Launch: April – September 2022

The Experimental Weave Lab, (TEWL), is the City of London’s first contemporary, innovative, experimental textile weaving season. Curated by Philippa Brock and Elizabeth Ashdown, this six-month season supports an exciting programme of short and long-term weaving residencies, talks, workshops and outreach work culminating in a final exhibition throughout most of September 2022. The season aims to explore the experimental, sustainable and interstitial spaces that weavers work within throughout UK craft, research, art, design and industry. All events will be announced on a monthly basis, from the start of April 2022 on The Experimental Weave Lab website and on instagram @the_experimental_weave_lab

Each resident will be tasked with pushing the boundaries of their practice within their time at the Lab, with the residencies being supported to enable all residents to be able to spend a prolonged period of time researching and developing both new and established approaches to their craft. There are experimental textile workshops being led by Residents of TEWL, Amber Roper and Sarah Ward at The Brady Centre with the ‘A’ Team in April 2022. There will also be a living archive lodged on the website detailing the processes and outcomes at the end of the season.

The Experimental Weave Lab aims to connect with London based events throughout the programme, including London Craft Week, The Crafts Council Make, Make! Craft! Live! and London Design Festival.

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Event: London Craft Week

London Craft Week (LCW) returns for its seventh edition with a curated programme of events across the capital, showcasing exceptional craftsmanship and creativity from emerging and celebrated makers. This represents LCW’s most ambitious, wide-ranging festival to date, featuring over 380 events, more than 450 makers and over 240 partner organisations.

From heritage crafts to immersive experiences to pioneering practices using the latest materials and technology, LCW celebrates the art of making and champions the talent, skill and stories of both independent makers and behind leading luxury brands. With workshops, tours, tastings, pop-up stores and unique exhibitions over seven days, visitors are invited to engage with extraordinary craftsmanship from London and beyond, with 31 countries represented in this year’s programme.

Spanning the fields of art, design, craft, luxury, fashion, food and beauty, the festival will highlight how the pandemic has been a catalyst for creative development and new collaborations, spotlight innovative sustainable practices and showcase unique, collectable pieces that enrich our lives and homes.

London Craft Week runs from 4th-10th Oct 2021
You can find the programme of events by clicking here

With thanks to LCW organisers for text and images

Event: British Textile Biennial 21

British Textile Biennial 2021 returns this year with new artist commissions, exhibitions and performances presented against the backdrop of the impressive infrastructure of the cotton industry in Pennine Lancashire. The Biennial runs from the 1st – 31st Oct 2021

This October, BTB21 turns its attention to the global nature of textiles and the relationships they create, both historically and now, with a major new commission by Turner Prize winner Lubaina Himid, fashion historian Amber Butchart as guest curator, a groundbreaking and  sustainable fashion project with designer Patrick Grant and a collaboration with artist James Fox and actor Maxine Peake. The final element of the programme is announced with C.P. Company Cinquanta, a retrospective of the Italian Sportswear company’s 50th anniversary.

In line with celebrations for the brand’s 50th anniversary, C.P. Company will be taking part in the British Textile Biennial 2021 programme, presenting a retrospective dedicated to five decades of Italian Sportswear, and Massimo Osti’s lasting legacy. Taking place in Darwen, Lancashire, from 1 – 10 October, the display will feature exclusive C.P. Company archive pieces from throughout the label’s illustrious history.

An arrangement of activities will run alongside this exhibition, including student workshops and panel talks, which will include speakers from the brand, as well as respected names in sportswear and casual culture.

With an abiding interest in the history of textiles within both an African and European context, Turner Prize winner, Lubaina Himid will present a major new work responding to the Gawthorpe Textile Collection in Burnley, exploring the histories of industrialisation, female labour, migration and globalisation in the Great Barn at Gawthorpe Hall.

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Drawing With Threads: Royal Academy

Join the Royal Academy for a weekend-long weaving course, to reclaim the magic of making through a simultaneously universal and often-overlooked artform.

Taking inspiration from self-taught artists and visceral art making practices – themes that RA Summer Exhibition Coordinator Yinka Shonibare RA will be exploring in this year’s show – artist and weaver Ismini Samanidou leads a course exploring the physicality of working with threads.

Over the weekend, using a small frame loom and threads from Ismini’s studio materials collection, you’ll choose and adapt images, as well as learning to develop a colour palette. You’ll focus on using colour, proportion and texture to develop ideas for a finished piece of work – an approach that is central to Ismini’s practice.

This workshop is part of the RA Summer Exhibition 2021 programme: Reclaiming Magic. Focusing on celebrating the work of historically marginalised and overlooked practitioners, this workshop will celebrate the artistic processes of traditional makers (very often women and people of colour), whose work is often deeply embedded in their cultural worlds.

Participants can bring their own visual references to work from, or will be able to choose from a selection of works relating to the Summer Exhibition and the RA’s permanent collection. Continue reading →

Company Profile: Lark & Bower

Sarah Ward is a hand weaver based in Essex, mostly known for her work as The Aviary Studio. Now she launches Lark & Bower, a new endeavour born during the Covid pandemic.

Most of Sarah’s weaving career since 2010 has been spent producing seasonal collections of hand woven swatches which she sold as design ideas, working closely with brands to develop woven concepts and colour stories for their collections.

The ‘enforced pause’ that came with the pandemic, though initially turning the studio on its head, was an opportunity to evolve and diversify, to re-evaluate a weavers place in the industry.

The idea of ‘off-loom’ weaving was conceived during the first lockdown in 2020, when Sarah didn’t have access to her loom or studio. Desperate to weave, she started using leftover yarn and a needle and thread to make small studies of woven structures; twills, hopsacks, houndstooth, waffle.

Now, despite having access to both, she has continued to work on these small, intricate offerings, whilst pondering why woven structure isn’t more celebrated.

Hand-weaving is an often forgotten art, and one which deserves to be appreciated without necessarily being part of a functional or ‘throw away’ item.

As an ancient craft, weaving is deeply connected to what it is to be a human. Like music, weaving developed in many parts of the world simultaneously, long before civilisations had communication with one another – an idea often forgotten in our new digital and industrial world.

Rejecting the constant demand for newness and instead supporting slow-design and sustainable practice, Sarah plans to use these woven pieces to raise awareness about waste and the impact of the textile industry on the environment, and to shine a spotlight on craftsmanship and woven structure as an art form in its own right.

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Social Enterprise: AMMA Natural Textiles | Sri Lanka

AMMA Natural Textiles, is a social enterprise championing the tradition of hand weaving in Nuwara Eliya, a tea estate region in Sri Lanka. AMMA was founded by Josie Mackenzie who was curious to explore the role natural dyes play in the Sri Lankan textile industry and how, when used in combination with handloom could contribute to providing livelihood creation for women living rurally.

This innovative business empowers marginalised women by employing them to make handwoven zero waste garments and accessories. AMMA’s current Kickstarter Campaign is raising money through maker made rewards so that they can continue to keep their workshop doors open and their artisans employed on full salaries. Continue reading →

Art Quill Studio & Blog | Marie-Therese Wisniowski

Art Quill Studio: A website featuring glossaries & articles relevant to Textile Art

Marie-Therese Wisniowski works as a full time studio artist, researcher, author, curator, university lecturer and is the former co-editor of Textile Fibre Forum art magazine.

She is the Director of Art Quill Studio & Blog. Her first post on the Art Quill Studio blogspot was published on August 26, 2010 focussing on the first ArtCloth exhibition in Australia featuring international and national textile artists and was titled – ArtCloth: Engaging New Visions and featured important textile artists such as Norma Starszakowna (UK), Joan Schulze (USA), Joan Truckenbrod (USA), Cas Holmes (UK), Jane Dunnewold (USA) and Ken Kagajo (Japan) – amongst others. At the present time over 500 posts have been published.

At the outset Art Quill Studio blogspot was designed to educate as well as to entertain. The education posts were titled, Art Resource, under the header of the post. At the time of writing more than one hundred Art Resources have been published. These are mostly published in the first week of every month. In order to access these resources more quickly, in the ‘Preamble’ of every Art Resource post are links to all of the other Art Resource posts on the blogspot. Example:  One Hundreth Art Resource. Continue reading →

Shane Waltener: Weaving as Performance

Shane Waltener’s practice is rooted in ideas about ecology, sustainability and reuse. Taking the form of objects, installations and performances, Waltener draws inspiration from a range of craft practices ranging from textile and basketry weaving to needlecraft and ceramics. Weaving however is at the core of his work.

The artist shares anthropologist Tim Ingold’s view that making is a modality of weaving, not the reverse. Making anything, whether a building with bricks and mortar or verbal communication composing words into sentences is a weaving process. If art is a matter of organising chaos into pattern, the artist’s work is essentially that of a weaver.

Waltener champions the idea of weaving as an ‘embodied’ practice, one that engages the whole body. He is a member of Ambient Jam, an improvisation ensemble which explores movement and music with tactile sculptures. Working with them has led Waltener to use methods common to dance and movement practitioners, relying on improvisation as well as acquired routines and skills in order to develop work. The making process is then recorded as a performance score.

Exemplifying this way of working is his recent work with The Building Action Group (BAG) during his residency at Academie Minerva in Groningen, The Netherlands; the third and final project in a programme following Hella Jongerius and Anotonio José Guzman. In response to the earthquakes caused by gas mining in the province of Groningen, that led to more than 100 collapsed buildings, 400 more being condemned and some 100,000 people being displaced since the early 1990s, the artist proposed to weave a house entirely from locally sourced soil and plant material. Continue reading →