Wrapping up the Session

Donna Kim has a chair caning business in Toronto (link on the right of thi spage - Edge of your Seat) and these days she's also exploring basket weaving. Here she isshowing us the results of her shibori classes with the Toronto Weaving School offered last spring. This was done by folding, clamping a piece of wood onto the fabric, then dyeing. 

Recently I had a great talk with a new student in my class. Her name is Sharon Alexander and she has her own photogrpahy and graphic design business. http://alexanderstudio.dphoto.com/. One of the comments she made while we were talking is that it was surprise to her that the weaving classes were so much more than just learning to weave classes - that connections and bonding happened, new friends made.....a supportive and caring environment for each participant. (Now that I know that she's a photographer though, hope she won't find the pictures of my classes and projects too appalling!) Continuing with the theme we have been exploring over the last several blogs about how weaving is such a good metaphor for life, once again it is apropos in describing these social interlacements. 

Though the designs seem simple, Donna spent hours sewing and wrapping which created resist areas where the dye could not penetrate. 

Weaving is usually considered a solitary practice. In part this is what might draw people to weaving. I've read some enlightening books about solitude as well as on creativity and solitude is very much linked to the process of creativity. In solitude, we have time to connect to our own thoughts and feelings, our own ideas and give our attention to learning something new. Through solitude, we reflect on other things going on in our lives and to find meaning in it all. From the chaos created from the sometimes tangled threads of thoughts, emotions, relationships and life situations, we can find some order (peace) in these moments of solitude. 

More results from Donna's foray into shibori techniques - above and below. 

 One of my favorite books on solitude is by Anthony Storr entitled Solitude: A return to the Self : http://books.google.ca/books/about/Solitude.html?id=graaRCq83QMC&redir_esc=y

Undoubtedly, much as I appreciate my times of solitude, I equally appreciate time with others. It's energizing, stimulating and keeps me motivated and enjoying life.

Melissa Nurmi knitters loom scarf made with assorted yarns. 

Sandi Dunn created two beautifully woven Rep weave rugs. The designs were taken from Laila Lundell's book: Repweave: 27 projects page 28. 

"When from our better selves we have too long
Been parted by the hurrying world, and droop,
Sick of its business, of its pleasures tired,
How gracious, how benign, is Solitude."

— The Prelude by Wordsworth

Resources, links etc.....
Branch Ranch
Here's a place to go in Ontario that sells all kinds of branches for basket weaving and decoration: http://www.thestar.com/life/2013/11/22/at_the_branch_ranch_an_unusual_farm_they_grow_what_else_branches.html

Check out and subscribe to Joe Lewis fibreQuarterly, an online fibre magazine. Joe himself has an immense knowledge of weaving and often features it in his magazine. https://www.facebook.com/groups/fibreQuarterlyGroupies/permalink/10151920049629597/. Recently he posted that Canadian Amanda McCavour, who was not only one of two recipients of the HGA"s Dendel Scholarship given by the Handweaver's Guild of America aka HGA, but is the current cover story of their magazine, Shuttle, Spindle and Dyepot. http://www.weavespindye.org/pages/?loc=1-60-00&p=cover.html. Thanks Joe!

Three Little Lessons

Jessica Brousseau with twill alpaca scarf

 How can I not be a happy teacher when I see the smiling faces of my  students who seem oblivious to all the technical challenges of weaving,  embrace the entire process  and plod along, sometimes not so stoically. The challenges that do come up, though at first are discouraging and disheartening, are buoyed by the great moral support we get from others, enabling each of us to rise to the new weaving challenge they have taken on. This week so much has been going on in the weaving classes that my head is spinning -  many projects finished, cut off the loom, and started as we wind down for this session of classes and restart in mid - January 2014.

Knitters Loom shawl made with assorted yarns by Jane Richmond

Experienced and less experienced weavers at the Toronto Weaving School classes have been sharing their insights and are the basis of our three little (weaving) lessons that may well apply to life as well.

tapestry woven rug from Bulgaria, brought to the class by Lana Grigorovitch.

The first maxim is from Marion Kirkwood - who has been weaving for 20 years-  proclaimed that she still always make mistakes in  weaving projects -  which only tells us that making mistakes is part of the weaving process - no matter how experienced. We've been observing Judite Vagners, a weaver well respected and regarded by all the students in the class, spend a few classes correcting the threading on her current project. Expect that you will be making mistakes.  In another discussion with another student,  we concluded that one should never point out the mistakes we've made in our weaving to others. Most of the time, only you see the flaw(s). Although it's good to be aware of the mistakes you've made, it's best to accept that we are not meant to make anything perfectly, and this keeps us humble, and grateful when things do go well!

Twill diamond scarf by Jane Richmond....this scarf was intended to be a runner but Jane decided today, it made a better scarf!

The second is a statement made by Karen Bota who said: "Weaving is not something you learn overnight!" Good observation! All one can do is build on one's weaving knowledge and experience....and keep practicing!

Herringbone alpaca mohair scarf , felted after woven by Jane Richmond. 

And the final lesson, as I observe the students reaction's to their projects, that often, things don't work out exactly the way you thought they would, planned for them to be or the way one envisioned it in the mind's eye. Sometimes it's better than one thought, sometimes not.  At these times it's best to focus and remember the joy of making and of weaving, and not raise that self critical bar too high!

A Christmas Runner for the dining room table by Andrea Kristoff in a huck pattern. 

Carla Duncan is wearing her own painted warp twill block scarf and she helped in taking off the group tapestry for the Fate, Destiny and Self Determination project. Below, Carla has just finished this beautiful black and gray 18/2 merino shawl, the pattern taken from Marguerite Davidson's book, The Handweavers Pattern Book. 

Weaving resources, links, exhibitions

Two inspiring weaving stories that were in the news:
[] How weaving is transforming people's lives: http://www.artsatl.com/2013/11/weaving-story-rebirth-re-use-reloom/
[] Old and new join to battle child killer: High-tech and ancient craft blend in Indian project aided by Canadian money by Jennifer Yang (Toronto Star, Thursday Nov 21 2013 - http://www.thestar.com/news/world/2013/11/21/indian_company_canadian_money_team_up_to_develop_unique_virus_detection_plan.html.

Wearable Technology Course II , OCADU
Erin Lewis, https://continuingstudies.ocad.ca/class_details.jsp?offeringId=355&show_past=false

This weekend check out Burr House in Richmond Hill. They are having their Pottery Sale that runs Friday, Saturday and Sunday. At the same time at the gallery next door, a collaboration between the potters and weavers where they collaborated and created work together.This exhibition will continue until December 22 2013. http://burrhousew.blogspot.ca/

Looking for something 'weaving' related to do over the holidays or maybe you'll be in the Ottawa area over the holidays? Bambi Rutledge sends this along - the Mississippi Valley Textile Museum. http://mvtm.ca/mvtm/. She also sent this wooly link along: http://www.wool.ca/

Giving, volunteering and donating

We are not only blessed and fortunate  to  have the weaving class environment to come to, where joy and enthusiasm for weaving runs rampant, but we are also very fortunate to have the means and the time to weave. Not only is it an investment in terms of time, but also  financial. This week I am inspired by how generous and supportive people are at the Toronto Weaving School aka TDSB weaving classes without which we might not be here as life 'on the outside' of our weaving sanctuary gets leaner and meaner. I am inspired by people's kindness, understanding, patience....and this generates only more of the same. This kindness and generosity also manifests in other parts of people's lives and as you look over the blog, you'll see that there are others who have undertaken initiatives to help make the city a better place to live in (despite certain recent political events!)

Avril Loreti on the left, Jessica Brousseau on right....they are elated because they have just completed their projects and you can see the video below. Avril created a doubleweave blanket and Jess wove 2 beautiful alpaca scarves which they are both wearing like an umbilical cord! So cute! Avril will be at the One of Kind Show.http://www.oneofakindshow.com/toronto/index.php...be sure to check out her booth at P4. While your are there you'll also want to see other weavers: Silo Weavers (G10), String Theory (V4) and Lucille Crighton (G4)

Julia Pelenyi volunteers for the Out of the Cold initiative and needs your donated woven and knit scarves, hats, mitts, gloves, socks and blankets to donate to the homeless who use the resources provided by Out of the Cold.  It is a volunteer initiative by Toronto area synagogues, churches and faith communities who provide host sites that will offer shelter, hospitality and refuge to the marginalized and people who are homeless in the city of Toronto. We'll accept your donations at the Toronto Weaving School during regularly scheduled classes.

Avril Loreti with her blanket

Wanting to sew your woven fabric? At $7 per hour, someone will assist you in doing that, providing you with all the technical assistance you need at The Workroom in Toronto. If you don't want to sew it, ask Rosalyn ....who has been taking our weaving classes and works there, and she'll sew your woven cloth into whatever garment you want (for a fee of course!) Go to http://www.theworkroom.ca/ or contact Rosalyn Faustino at rosalyn.faustina@gmail.com.

Recent projects cut off looms by Jessica Brousseau and Avril Loretti. 

Recently Toronto Weaving School received a yarn balance (shown below), a donation from Sylvia Ptak. A yarn balance is useful when you have a yarn for which you have no information i.e.no idea how many yards per lb, a number which is required when planning out weaving projects.  Rebecca Mezoff writes a humourous account of how to use it complete with pictures. http://rebeccamezoff.blogspot.ca/2013/10/yarn-balance.html. 

A yarn balance, photo credit, Rebecca Mezoff

Weaving resources, links and happenings

Textile Museum of Canada: How to make a carpet November 20-24 2013
http://www.thestar.com/life/2013/11/19/how_to_make_a_carpet.html

Rosalyn Faustino sends this  inspiring link to an American weaving resource: http://weavinghand.org/

26 knitters loom scarves in this ebook resource:
http://nls.interweave.com/t/bffbbJ0-qQAZTvIU4eCUxaBIbaaaCUxBIb?p=6%40w736&Z=yVuZxowtqdsZ_xtrkfonXt.Xf&Zj=ofkjnym3gnij_n3huVydhj.hV&q=88l&2=&m=%23

Monday morning class. 

Connection

Jane Tucker, hand dyed Alpaca scarves woven in a variegated twill. 

"Resistance is futile" I proclaimed (one of my favorite quotes from Star Trek ) as one of my weaving students said that she was 'socializing'! Why did I get it in my head that we should get so serious anyways? Must have been that teacher training I took at the University of Toronto that drilled me about what teaching is. There is a momentum in our weaving classes that is very energizing and keeps us all excited about weaving. The environment is more like a studio and less formal than the conventional course and this is how participants want it. They want the social component,  they want to interact together. Like many weaving groups, such as guilds, weavers are very helpful to others. They can never seem to do enough to help you out ...not just in weaving but what ever other challenges you might be facing. This kind of real human connection, where we feel unjudged, accepted and even embraced for who we are, is what makes our weaving classes a pleasure to be in. All of the participants contribute to making this a great place to be weaving together. What, you might ask, is my role in all this. Definitely not a traditional definition of teacher. Perhaps my role is more about making sure all that you need is there to make what you want to weave happen. My experience in weaving is also necessary in realizing the many projects people accomplish.

Conrad Dueck wove this cotton runner. The pattern was taken from Best of Weavers: Huck Lace page 12, by Ruth Morrison. 

And so,  I've learned while teaching the classes, that real connection with others comes in the physicality of doing, in materiality, in actions, interactions, processes and events shared by an assortment of individuals. Weaving is an appropriate metaphor for engagement and activity with others. Both can be described as a means of producing a coherent united whole or collaboration through the combining and interlacement of various elements. All these individuals are like threads  woven into a community fabric through this one shared activity a permanent reminder of our shared history and values. This was really driven home to me in my recent Community Threads tapestries project where everyone had skills, abilities and resources to contribute to making the project a successful one. It wasn't about one individual getting all the acclaim or having to do all the work. Great things can happen when we pull together, are cohesive and put aside our differences. 

Marion Kirkwood, wove this merino scarf in a twill variation. 

 This was our first week of selling student work and it was much more successful than we had anticiapted. We put up a display outside our class and the products attracted passerbys to purchase quite a large number of items. If you are participating in the class you are welcome to bring your items. Please tag them with your name and price and whatever other info you'd like. Remember that 10% goes to the Toronto Weaving School fund for purchasing necessary supplies and equipment. 

Leslie Wynn wove this subtle but startling and complicated 8 shaft pattern taken from A Weaver's Book of  8-Shaft Patterns by the Friends of Handwoven. 

All people, registered in the weaving class or not, can enter the draw to win a Jane Louet  8 harness loom. Tickets are $25 each or 3 for $50. This is the cadillac of table looms and retails normally for $1100. The draw will take place November 27 2013. 

Maureen Krinicic wove this rag rug runner made with ripped sheets. I think it's about 12' long, maybe more! That's a lot of ripping sheets!

This twill baby blanket was Andrew Winter's first project, which he did on his own loom at home without my help! Way to go Andrew! 

It's also that time of year to register for the winter session of the weaving classes. Go to www.learn4life.ca. Look under Craft and select weaving.  A new session begins January 13 and 15 and runs for 9 weeks. 

Judite Vagners needed more light to correct her threading pattern. Here she is working on the Macomber loom, a donation to the weaving classes. Judite is a very experienced weaver and is very helpful to all the weavers in the class.  She is presently obtaining her Canadian Master Weaver certification. 

Blue is the theme

Some of the evening weaving students say hello to all of you! From left to right Sanya Lascic, Andrea Kristof and Lana Gregorovitch. 

 At this time of year many people feel blue. Apart from the challenges that life presents to us, perhaps the diminished amount of sun and light seems to affect people's mood and perhaps their energy. This picture from this past week was cheerful, much needed as light diminishes and the cold sets in for the next several weeks and months. According to Wikipedia,   ".... Surveys in the U.S. and Europe show that blue is the colour most commonly associated with harmony, faithfulness, and confidence. In U.S. and European public opinion polls it is overwhelmingly the most popular colour, chosen by almost half of both men and women as their favourite colour. It is also commonly associated with the sky, the sea, ice, cold, and sometimes with sadness. While blue was an expensive and prestigious colour in European painting, it became a common colour for clothing during the Renaissance. The rise of the colour blue in fashion in the 12th and 13th centuries led to the creation of a thriving blue dye industry in several European cities, notably Amiens, Toulouse and Erfurt. They made a dye called pastel from woad, a plant common in Europe, which had been used to make blue dye by the Celts and German tribes. Blue became a colour worn by domestics and artisans, not just nobles. In 1570, when Pope Pius V listed the colours that could be used for ecclesiastical dress and for altar decoration, he excluded blue, because he considered it too common.

The process of making blue with woad (shown above) was particularly long and noxious- it involved soaking the leaves of the plant for from three days to a week in human urine, ideally urine from men who had been drinking a great deal of alcohol, which was said to improve the colour. The fabric was then soaked for a day in the urine, then put out in the sun, where as it dried it turned blue. 

The pastel industry was threatened in the 15th century by the arrival from India of new blue dye, indigo (shown above), made from a shrub widely grown in Asia.Indigo blue had the same chemical composition as woad, but it was more concentrated and produced a richer and more stable blue. In 1498, Vasco de Gama opened a trade route to import indigo from India to Europe. In India, the indigo leaves were soaked in water, fermented, pressed into cakes, dried into bricks, then carried to the ports London, Marseille, Genoa and Bruges. Later, in the 17th century, the British, Spanish and Dutch established indigo plantations in Jamaica, South Carolina, the Virgin Islands and South America, and began to import American indigo to Europe

A bamboo woven twill variation scarf by Louise Granahan. 

Marion Kirkwood wove this tencel and beige scarf. 

Interesting how both scarves shown above have an irridescent effect. Perhaps I didn't capture it as well as I'd like in the photograph. 

Happenings:
This Sunday Cedar Ridge in Scarborough is have a show and sale from 12 to 5pm. 225 Confederation Drive. Some talented weavers will have work for sale there.

Inspiration: 
Noelle Hamlyn works in Toronto  http://www.worldofthreadsfestival.com/artist_interviews/101_noelle_hamlyn_13.html

Rose Ruffolo sent me this link about a great beaded art project honouring the large numbers of indigenous girls and women who go missing. I'm looking forward to seeing the exhibit.
http://www.beadingdaily.com/blogs/daily/archive/2013/10/28/walking-with-our-sisters-native-american-beadwork-to-honor-the-lives-of-women.aspx?a=br131102&mid=311901&rid=15269043

Resources
Both Karen Bota and Kate Kitchen sent along this link for a free ebook on knitters loom weaving (technically a rigid heddle loom).
http://nls.interweave.com/t/bfdbbJS3aQAY4eIOD6CUxaP2vaaaCUxP2v?r=4%40y9036&h=hdqhhlqfehk_vvpmdqlZr.Zd&bh=hdqhhlqfehk_vvpmdqlZr.Zd&i=E0t&u=&u=%23

Karen Bota also sent this suggestion: http://campaign.r20.constantcontact.com/render?llr=dqkvrgcab&v=001xWuk4iGwEaJFgQt_46eMBT2shK9jzyea1xj2jSdvtpvPEJXwxmnolAJEkQ6d91itkZ5OLrbbXqkxL49G77nSyTS3TzQZgf6yFekQYBwcuM-S3LPPP6zKK1WVvwFJt6qV59bTkbIfGC-2LKNEOgbdaSZcGDxZnJ-622n1y1w88W0%3D

Focus and Distractions

Cotton and Bamboo throw woven by Wendy Szpindel. Pattern from 8 Shaft Weaves book. 

Learning to weave and weaving requires a number of factors and environmental conditions. One is an environment that enables us to focus on the task at hand. Many weave structures are complicated and require ones full attention, the above being a good example of the kind of weave that requires this. Regardless of its complexity, most weaving requires that we not be distracted from what we are doing to prevent errors in threading and/or weaving. Not only does this require a certain capacity to concentrate, it requires that distractions are reduced and that we give the task the full attention. 

Knitters loom scarf by Mimma Draga

Last week I was talking to a couple of friends and they exclaimed that they were losing focus and were easily distracted. Is it an ageing thing I wonder or are we reverting to the child we were in the past? Who is to say. I do know though that we must respect that each person has different levels of "distraction tolerance" and so, when in a learning environment it is something we must try to respect in creating a positive learning and weaving environment for our fellow participants. 

Felted spaced warp merino scarf by Marion Kirkwood. This idea can be done on a Knitters Loom. 

Not too long ago someone was telling me about a couple of workshop teachers who insisted on silence during the workshop, that is to say, socializing. I found this very courageous of them to insist on that.  While I find that extreme, I also think it tells us that the learning and environment conducive to learning must take precedence in the class as most participants attend for that reason, otherwise, why pay to be there or socialize. We all have different learning needs, and perhaps participants also have different reasons they attend the class, but most importantly, we must remain focused on why we are here, gathered together!

More knitters loom scarves by Mimma Draga

I take pride though that participants for the most part, are friendly and this too creates  a positive environment. It takes all of us to create not only a friendly and positive environment but one where we respect the learning needs of others. 

Weaving Courses and workshops

Donna Kim is offering a new class in chair cane weaving. Looks interesting and intriguing!

http://us2.campaign-archive2.com/?u=6cabba50e96aa5ed24a3c303f&id=432db72e4d&e=8dfe32aed3

Donations wanted:

Erin Lewis would like to ask weavers for their woven discards. She needs them for experimentation with her Wearable Technology work. Please bring to the Toronto Weaving School. 

Want to sell some scarves?

Bring them to the Toronto Weaving School classroom and we'll try to sell them for you as long as you are registered in the class. 10% of sales will go to the Toronto Weaving School. You can also bring in other small handwoven items such as tea towels and hand towels. We'll let people know that we are open for business on the days/evenings classes are running. 

Weaving Looms for Sale: 

45" 4 harness counterbalance leclerc with bench $500. 

36" 8 harness Leclerc jack loom $600. 

45" Schact loom with bench, oak, 4 harness with option to add another 4 harnesses. $750.

contact Line at tapestryline@sympatico.ca. 

Patterns

Twill plaid blanket woven with Lemieux yarn by Judite Vagners. 

Recently I've been reading book The Philosopher, The Priest and the Painter: A Portrait of Descartes by Steven Nadler. Rene Descartes was a philosopher and mathematician and though born in France, lived for great lengths of time in the Netherlands. He is best known for the phrase: "I think therefore I am." Why, you might ask, would I bring that up, in my weaving class blog? As it turns out, there are a couple of reasons and one of them is his connection to Haarlem in the Netherlands. "Haarlem's economy [in 1646] was dominated by the textile industry, especially the finishing stages of production. The broad fields extending southwest of the city were used for the bleaching of fabrics. They served not only local manufacturers, but also foreign firms. Bolts of linen - woven by the thousands of textile workers employed in Haarlem or on looms in London or Scotland, and carried by boat across the English Channel - were first soaked in lye and then bathed for days in buttermilk supplied by surrounding dairies. They were then laid out in long stretches on the grasslands beyond the city's moat to dry and whiten in the sun from the late spring though the early fall. " 

Samples for the blanket above. First sample on left, the fabric just off the loom; middle sample washed; and final sample brushed. The result is soft blanket - a complete transformation of the yarn which at first seems hard and wiry. Instructions for this method available in class. 

As a philosopher and mathematician, Descartes was concerned with applying mathematical methods, strategies or patterns to our thought processes and observations. He believed that thinking required a certain methodology which we can apply to many parts of our lives, from our relationships, to our jobs and leisure activities, and of course weaving. There are many meanings and connotations for the word pattern but the ones I want to focus on most are that the references to our own patterns of thought and patterns of behavior based on the structures of our beliefs. As we see in weaving, patterns are directly related to the how the structure is organized and this will contribute to the overall patterning of the weft threads and resulting fabric. These ideas about patterns of thoughts and behaviors directly impact our relationships and the quality of our lives. We are each individually the master weaver of our lives. 

Huck Pattern bamboo scarf by Marion Kirkwood.

A couple of recent discussions are fresh in my mind. One is my sharing with some students my ongoing belief that weaving for me, has always been about a "healing journey" and though I have not been that vociferous about proclaiming it, I know that the moment I think the journey is about something else, for instance, about ego, pride and achievement or even intelligence ..some event arises to remind me about the real reason I weave, or have to weave. Often this  event may  humble me or leaves me feeling vulnerable. Sharing this opened the door for a friend to reveal that she saw weaving as a metaphor for life, an activity that mirrors what we are going through, our explorations to make new 'patterns' in our life, find new routes, new methodologies, new routines, new connections that will revitalize us. Somehow this weaving methodology does lead to transformation on a personal inner and outer level. I am mindful of it in myself and I clearly observe it happening in those that surround me and are part of this wonderful practice. 

Agota Dolinay (holding the tablet and looking down) and Ellen Alias are back from there 3 week journey in Peru where they studied tapestry weaving with Maximo Laura. The tapestries they completed were based on Maximo's 'patterns' (designs) and learned the Peruvian methodology of tapestry execution. It is very textural and each colour area uses 5 strands of  a fine alpaca. Agota, Ellen and Mai-Liis showed us their pictures and samples. 

Which leads me to the conclusion of my meandering but first....isn't it neat how synchronicity has been working these last few weeks and how each interaction with you and whatever is going on in my life seems to be so connected. Christine Shipley sent me this link to a blog entitled "Work is not  a job": http://workisnotajob.com/en/about. On the same theme, of changing life patterns, HGTV is looking for people who are doing just that: 

Fed up with the daily grind? Ready to give up your Wall Street corner office to run the corner cafe on Main Street? How about trading in that cubicle for a houseboat? Want to run your own B&B, rafting business, ski lodge, doggie daycare? Then HGTV is looking for you! HGTV’s, latest series, new house, new life seeks fun, high-energy, people who are in the process of flipping their career or current status for a lifelong passion or newfound interest and moving from their current digs to their dream home! Our cameras will be there to capture key milestones: The trials and tribulations of career departures, moving, settling into new environments, wrangling unexpected surprises with family, realtors and colleagues as the dream becomes a reality. Getting from point a to point b promises multiple surprises and unpredictable finales. Casting applications are being accepted now and production will continue through the fall. Ideal candidates will be outgoing, financially candid people who would love to share their life-changing experience with HGTV’s audience; inspiring others to pursue their dreams too. Singles, couples and families are all invited to apply! For more information please contact:bschoede@orionentertainment.com720.891.4860

Exhibitions

Sacred Stitches

Beauty and Holiness in

the Needlework of many faiths

A week long exhibit of textile art

to mark the 100th anniversary of

Ecclesiastical Needleworkers

of the Diocese of Toronto

Friday October 25-Friday Nov. 1, 2013

at St. James Cathedral, 7:00 am -7:pm

65 Church St. & King St. E. Toronto

http://www.stjamescathedral.on.ca/HistorybrArchitecture/SacredStitchesExhibit/tabid/603/Default.aspx

Community Threads Exhibition

12 tapestries depicting community life recently woven by the Nottawasaga Weavers and Spinners to be exhibited in Alliston, Ontario. Be supportive of other weavers and join me at the opening reception Sunday October 27 between 2-5pm. Refreshments are served!

The Gibson Centre

63 Tupper Street West

Alliston.

Christmas and Cedar Ridge

Sunday November 10

12-5pm

Cedar Ridge Creative Centre

225 Confederation Drive

Scarbourough Ontario

Talks, Workshops & Call for Entries

Karen Bota let us know about a rug weaving event happening at the Textile Museum of Canada: 

http://www.textilemuseum.ca/microsites/artdayproject/ArtDayProject.html

Stitches across TimeDeadline: April 14, 2014
Dufferin County Museum & Archives
936029 Airport Road, Mulmur, ON
September 12 - November 9, 2014
Dufferin County Museum & Archives is pleased to once again present the exhibition Stitches across Time in 2014. Continuing the theme of the first exhibit in 2011, the exhibition will celebrate the tradition and history of textile arts. The DCMA invites submissions for a national juried exhibition of fibre art works inspired by a new selection of six historical pieces from the museum’s extensive collection of textile artifacts.

For access to the call for entry and to view the six inspirational images go towww.stitchesacrosstime.com. For further information email Ruby Qureshi:events@dufferinmuseum.com.

Role models and mentors

Recently, a friend mentioned how inspired she was by a talk Andrea Graham gave entitled "Paddle your own Canoe". http://www.andrea-graham.com/about.html.  Already this young woman has had incredible success in every area of her life it seems, but especially...and enviably, as a fibre artist, more than most  will ever achieve regardless of how much they strive. All her circumstances seem to have conspired to create the incredible opportunities and creative life she has. 

Picture taken by a friend of Darryn Crombeen, while visiting Thailand. These people dyed the silk and wove it. 

In the news here in Toronto recently, an 89 year old peace activist by the name of Audrey Tobias won her court case for refusing to fill out a federal census form, because "Lockheed Martin , the American arms manufacturer, .....provided the software Statistics Canada used to process the information. Tobias said the publicity of last week’s one-day trial pleased her.....“I wanted to make the point that our government is on the wrong path, vis-à-vis the way it handles its military and defence,” Tobias said. “Do you think I made that point? I think I did. " http://www.thestar.com/news/crime/2013/10/09/audrey_tobias_89yearold_census_refuser_to_find_out_fate_wednesday.html. 

 Karin Domnick, a recent arrival to our weaving class, has had many weaving adventures. Here one in Mexico. 

This connects with a review I read recently of Malcolm Gladwell's newly released book, David and Goliath. 
"In David and Goliath, Malcolm Gladwell, with his unparalleled ability to grasp connections others miss, uncovers the hidden rules that shape the balance between the weak and the mighty, the powerful and the dispossessed. Gladwell examines the battlefields of Northern Ireland and Vietnam, takes us into the minds of cancer researchers and civil rights leaders, and digs into the dynamics of successful and unsuccessful classrooms–all in an attempt to demonstrate how fundamentally we misunderstand the true meaning of advantages and disadvantages. When is a traumatic childhood a good thing? When does a disability leave someone better off? Do you really want your child to go to the best school he or she can get into? Why are the childhoods of people at the top of one profession after another marked by deprivation and struggle?" 

Karin Domnick, a silversmith, also visited this Japanese weaver on her travels. 

The subject came up yet again when I was driving a couple of weaving students to the subway. One mentioned that she was sent a link about a contest of sorts to win a spot to be mentored for a weaving experience. http://www.youtube.com/watch?v=gHjvzOEbWd8&feature=youtu.be
It doens't matter how old we are, we naturally seek out people, usually older than us and often more experienced, that for us represent how we want to live our lives, and the kind of people we want to shape ourselves to be. Audrey is definitely on my list , and there are many women her age that  inhabit my list along with her. Somehow they've maintained a vitality, still have ideals and qualities that I admire. Somehow, they've managed to live  a life that is true to themselves, that is authentic and not prescribed. They are my role models and offer me other ideas about how to live ones life. More recently, I see that I too am a mentor for other women....some younger, some not. It doesn't matter where one is along that continuum, of seeking to live an authentic, and meaningful life, we need to be able to envision what that looks like, what it sounds like, what it feels like.....we need to examine every dimension of our lives and remove all that is not enabling us to reach our 'best self' as Oprah would say. When we don't live the kind of life we envision for ourselves, we start to feel that ache inside and a sense that we are not truly living our lives, but only going through the motions described by the parameters of societal and family expectations. In short, it takes courage to live that kind of life because we must risk: risk looking like a fool, of failing...of not always being certain of what the outcomes will be and where our choices will lead us, but it's even riskier to one's well being if you don't take the risk at all. I may not achieve or accomplish all that I aspire, but I sure will try. 

Arlette Schulman submitted this tapestry woven shape for the international tapestry project. 

I find this theme connects also with Fate, Destiny and Self-Determination/le sort, destin et l'auto-determination international tapestry project that I have undertaken. Fate is defined as a force, energy, principle, element or power that prescribes to each person a set of limits, boundaries and confines. In Islam it is called Kismet.The Greeks called Fate, Moira. Greek Mythology speaks of the three Fates: Clotho, Lachesis and Atropos who supposedly controlled each person’s fate. The youngest, Clotho,  is a spinner and she determines the time of birth and spins the thread of life on her distaff. Lachesis measures the length of the thread to determine the length of one’s life; the time of death is decided by Atropos, who cuts the thread. Inherent in the idea of Fate, is that one has no influence over events and outcomes. Mythology and psychology distinguish between Fate and Destiny. Destiny, is considered an expanding field of possibilities alluding to our potential to influence our Fate. This makes Destiny kinetic. “The lives we construct are an inextricably woven fabric of influences, possibilities and accumulated consequences of choices made.” (What Matters Most, James Hollis). You are never too old and it is never too late to make your life into what you want it to be.

Questioning my competency as a Teacher

Christine Shipley, Theo Moorman scarf, based on my design in Handwoven Summer 2013. Christine tried the tie up and treadling that Handwoven had changed from my own original plan and she found it worked out fine, much to our relief. 

A new term of weaving classes has begun, and the first thing that struck was how happy and enthusiastic  as well as loud and boisterous students have been in the class, communicated by the volume at which they spoke, at times making it difficult for me to be heard and to teach. I wondered if I was a good teacher at this point, thinking that I had lost complete control over my class! LOL! So questioning my own competency I started reading some research about creating good learning environments and I came upon “Constructivist Learning Environments” by  Brent G. Wilson and what I learned is that this is all a very good sign!

Christine Shipley, clasp weave scarf with chenille and tencel. 

I was very relieved to hear what he had to say and what he considered to be good learning environments . The role of  the teacher in his view is one where lerning is fostered  and supported, but not controlled or dictated in any strict fashion.  He talks about the difference between ‘instructional environments’ and  ‘learning environments’. ... a learning environment is one in which  learning is fostered and supported, as opposed to an instructional environment, that is a more controlled and directive of the students activities and interactions.  To someone observing the class, a ‘learning  environment’ appears chaotic  (which it certainly does in our class!), however this only indicates that the environment is  dynamic, responsive and vibrant. This approach sees the student taking more initiative in their learning and leaving the teacher to take a back seat, perhaps guiding, advising and encouraging rather than being directive.  The teacher is responsive to each individual student as they work at their own rhythm and decide individually what direction they want to take and what kind of challenges they are ready to take on.

Louise Granahan, houndstooth scarf in bamboo (rayon). Louise takes all her design ideas from the beginner sampler she did with us. 

The idea of creating a ‘learning community’ is definitely what is happening in our classroom at the Toronto Weaving School, where students are eager to help each other on projects and inspire others with the projects they have done. The students support each others learning constantly...it’s a real environment of cooperation and caring.  Thus creating a good ‘learning environment’ is one in which learners have at their disposal the tools, equipment, and resources that are complemented by the impact other people in the learning environment have upon each other.  So I guess I am now convinced that I have intuitively created an optimum learning environment for weaving, thanks to you and your lively participation. In all of this I only ask that you not forget and include the newcomers to the class .....

Marion Kirkwood. Atwater Bronson Lace Scarves adapted from Handwoven Mar/April 2008, p 54-56 8 shaft pattern. Tencel (rayon). 

I featured Nieves Carresco last week and she wrote to me this week and said:

"Good morning Line, a quick note to let you know that we went to see the textile show on Gerrard a couple of days ago with Pascal. I immediately recognized your pieces! My favourite is "Around in Circles", with the loose and apparently random positioning of these yarns but obviously following some sort of structure. Your colour palette is very appealing, refreshing, optimistic. A really delightful piece. I also liked the fine grid of the background. I saw your blog also, thank you for including me! About Jun Tomita, you made the same mistake I made .... Jun is a man (not a woman), and actually his wife is also an artist, I believe, but I'm not sure what her role is in his studio (as you can see from the web page, almost all is in Japanese!)"

You sent me: 
Scott Ford  thought that this would be of interest to weavers: http://www.leevalley.com/en/newsletters/Gardening/8/9/Letter.htm

Louise Granahan (sorry....info lost on this scarf).