It's Conference Season -- Which Means Exhibits!

Every other year, in some city in the U.S., weavers travel from all around the globe to attend two of the best conferences worldwide: Convergence, sponsored by the Handweavers' Guild of America, and "Seminars," sponsored by Complex Weavers.

There are classes, talks, gatherings formal and informal, vendors (of course), and exhibits (of course). Among the best-attended exhibits are Complexity, an international show sponsored by Complex Weavers, and the Convergence fashion show. 

And every other year, I challenge myself to weave and apply to both of these shows. (Some pieces are juried in, some pieces aren't, but that's how it goes....)

The piece shown at the beginning of this post is titled "Harriet Tubman Dreams of the North Star," and I'm proud to say it was juried into this year's Complexity exhibit, to be mounted at Mark Arts Gallery from July 7-August 16 this summer in Wichita, KS, where both conferences will be based. Here are a couple more views.

A detail pic of the corner of this piece --

including the beaded fringe, 

which took months to complete....

Here's a medium-range photo of the weaving, 

which also took months 

to design, dye, wind the warps, and weave.

Tubman was born into slavery in 1822 in Maryland and died a free woman at 91 in Auburn, NY, near my home in Rochester. Before the Civil War, she escaped slavery and returned to the South to lead some 70 slaves to freedom, traveling through the night, following the North Star, making stops along the Underground Railroad on their way to freedom in Canada. After enduring the hell of slavery, she faced down unimaginable dangers and terrors to rescue others, leaving a legacy of bravery that inspires and awes millions. My weavings are a modest tribute to the woman who was called the Moses of her people.

These photos of my work were taken by Tim Fuss of Pixelwave photography. We've worked together for at least a decade and he never fails to get the lighting and the setup just right. 

Below are more photos by Tim -- images of another piece that was juried into Complexity 2024, also honoring Tubman and to be on exhibit at Mark Arts in Wichita.

I've named this "Harriet's Shawl," inspired by photos of Tubman wearing a shawl in her later years.

Harriet Tubman, taken in 1885 in Auburn, NY

Tubman at the end of her extraordinary life, 

again photographed in Auburn.

A third piece completed last year for exhibit is a dress I wove on 24 shafts, on a warp of 16/2 bamboo/rayon in orange and purple. I call it "Purple Waves." It was woven in doubleweave on an Echo threading, as one piece of yardage on my loom that was simply folded in half horizontally and sewn only at the shoulders and seams.

This dress will appear in the fashion show at Convergence in July -- an event that is always the high point of the conference. Again, the photos are by Tim Fuss.

Because it's doubleweave, there are two wefts involved. 

For the bodice, one of the wefts is linen crepe, 

which draws in and creates gentle pleats 

that mold themselves over the body above the waist.

For me, it's important to set up a weaving challenge for myself every year or so, to aim for a juried exhibit or a show. It makes me work harder, take some risks, aim a bit higher. Of course it can hurt when a piece doesn't get accepted or there are issues -- which I won't share, it's complicated -- but I keep trying, focusing on the next one. I always learn, regardless. And I have an excuse to attend these wonderful events....

Convergence and Complex Weavers Seminars, taking place this July in Wichita, KS. Hope to see you there!

And, as always, thanks for reading.

What We Wove at Convergence: Echo, Jin, Shadow Weave, Rep, Double Weave, and Even Collapse Fabric

Echo Weave on 8 shafts on a warp of light blue and dark blue 10/2 cotton. 

The weft is 20/2 cotton in golden orange. Woven by Virginia Lee.

You've heard about Echo, which is based on an extended parallel threading that weaves a warp-emphasis fabric with lots of color and strong patterns. But do you know about all the different structures you can weave on the same parallel threading? In addition to Echo, you can weave Jin, Shadow Weave, Rep Weave, Double Weave and even collapse cloth, simply by changing your tieups and treadlings.

I taught a workshop on this subject last week at Convergence, the biennial conference for the Handweavers Guild of America, held this year in Reno, Nevada. "One Warp, Many Structures: An Exploration of Extended Parallel Threading" looked at all the possibilities I mentioned above. To teach this, I designed 9 different patterns -- 3 for 4 shaft looms, 3 for 8 shafts, and 3 for 12 shafts -- and invited students to choose a pattern and wind a warp using two colors of 10/2 pearl cotton. (I also named all of these patterns, using simple descriptions as a mnemonic device -- otherwise I couldn't remember them all!)

Below is a photo essay showing some of the beautiful samples the folks in my workshop created, with brief descriptions for each. It was a visual feast!

Above on left: Echo Weave sample using 8-shaft pattern, "Many Rivers," in light blue and off-white warp yarns. On right: the same pattern, this time in Double Weave, with top layer woven in off-white 10/2 cotton and bottom layer woven in 18/2 merino. The bottom layer fulls with hot water, soap, and agitation, making the top layer collapse and pucker. Woven by Roberta McKinney.

 Echo in the 8-shaft pattern, "Falling Stars," using different colors of weft yarns in 20/2 cotton. 

Note how the the weft color completely changes the color of the fabric. Woven by Teresa Edmisten.

Left to right: Double Weave and Shadow Weave samples woven on 8 shafts in the "Fun House" pattern. 
Woven by Judith Rees.

 Clockwise, starting from top left: Echo,

Double Weave, and Rep Weave on a 4-shaft pattern called "Op Art."  Woven by Diana Abrell.

Rep Weave in the "Fun House" pattern on 8 shafts. Woven by Virginia Lee. 

Shadow Weave on 8 shafts in the "Falling Stars" pattern. I think this was woven 
by Rachelle Weiss -- my apologies for not knowing for certain.

 Above, the 8-shaft "Fun House" pattern on a warp in two shades of blue for warp yarns. 

The red weft creates the impression of 4 different colors in the fabric. Woven by Judith Rees.

The two photos above: front and back of the "Falling Stars" pattern on 8 shafts in Double Weave. 
The warps alternate between a golden yellow and a hand-painted yarn in shades of green and blue. Woven by Sharlet Elms.

The two photos above: front and back of collapse cloth in the 8-shaft "Falling Stars" pattern, woven as Double Weave. The weft alternates between 10/2 cotton in gold (front) and 18/2 merino in purple (back). With washing, soap, and a lot of agitation, the merino fulls on the back, making the layer on the top collapse into pleats. Woven by Sharlet Elms.

"Many Rivers" design woven on 8 shafts. Pictured from top to bottom: 
Echo, Shadow Weave, and Jin. Woven by Virginia Glenn.

Pictured above, clockwise from top left: 8-shaft "Falling Stars" pattern in Shadow Weave, 
Double Weave, Rep Weave, and again in Double Weave. Woven by Ruth Ronan.

Blooming Leaf pattern on 4 shafts woven as Jin. Woven by Sharolene Brunston.

Above, top to bottom: "Fun House" pattern for 8 shafts. The top two samples are woven using a different Echo tieup and treadling from the bottom 4 samples. The bottom 4 samples are all the same tieup and treadling for Echo, but using different colored wefts. The warp yarns are light blue and turquoise. Woven by Carie Kramer.

Thanks for reading! And many thanks to the staff of HGA for putting together another wonderful gathering of the clan!

Juried into the Convergence Fashion Show in Reno...

Every two years I set myself a challenge: weave fabric for a garment for submitting to the Convergence fashion show, a biannual conference sponsored by the Handweavers Guild of America. This year, the conference will be held July 6-13 at the Peppermill Resort in Reno, Nevada -- and I'm happy to announce that two garments of mine were juried into the show.

This coat took me two years to complete, from conception to winding warps to dyeing them to weaving the fabric to dyeing the lining and sewing the coat.... It's called "Summer's Lease I," after William Shakespeare's beautiful words, "Summer's lease hath all too short a date" (from his sonnet, "Shall I Compare Thee to a Summer's Day").

I wove the fabric on my 12-shaft Macomber, using a draft I created with extended parallel threading. Then I wound two warps of 20/2 silk, painting one in a range of fuchsia, rose, pink, and lavender and the other in gold, lime green, sage green, and turquoise. The fabric is woven in Echo Weave and Turned Taquete and the weft was 60/2 silk in orange.

Here's the image that inspired my pattern and colors.

I kept it on my computer for years under the title "Paint this Warp." I have no idea where I found it!

For the lining, I purchased yardage of Habotai silk, then dyed it in a range of bright pinks using low-water-immersion dyeing.

I wove about 10 yards of fabric and, having taken Bonnie Inouye's workshop, "Opposites Attract," I began experimenting with other structures, alternating my treadlings for Echo and Turned Taquete and then venturing into Rep and Double Weave. The Double Weave wasn't successful because I did not re-sley my reed for a tighter sett. But the Rep turned out really well, with a weft of hand-dyed Habotai silk ribbon alternating with 60/2 silk.

Here's the second garment that was juried into the fashion show, this one named "Summer's Lease II."

The top is woven in Warp Rep and the skirt is Turned Taquete, cut on the bias. Here's a close-up of the top.

As for patterns: the coat is my own pattern, fashioned after a swing coat I own and love. The skirt and top are my own designs. Photo credits and thanks to Timothy Fuss of Pixelwave, who does a wonderful job photographing handwoven garments.

Hope to see you in Reno!

Next stop, Milwaukee!

Hope to see you at Convergence....

Convergence 2016 in Milwaukee: A Sneak Peek at the Classes I Will Be Teaching

Sample scarf for "One Warp, Three Fabrics: Weaving with 60/2 Silk"

For a workshop on "Sawdust, Leaves, and Bugs," shibori-dyed silk 

in osage orange, cochineal, and indigo

A Dorset button, subject of a 3-hour super seminar, "How to Make Dorset Buttons"

There is still time to register for upcoming workshops and seminars at Convergence 2016 in Milwaukee. Weavers come from all over the world to meet and study at this bi-annual conference sponsored by the Handweavers' Guild of America.

Yes, I will be there! I'm teaching a 3-day workshop, "One Warp, Three Fabrics: Weaving with 60/2 Silk," that focuses on how to weave with fine threads to achieve three very distinct samples. The first is a structure of twill blocks, using a 60/2 silk weft -- suitable for light garments and scarves with wonderful drape. Here's a student sample from the workshop I taught at MAFA in 2013.

Beautiful, I agree! The second sample we will weave uses a plain-weave structure and a silk-ribbon weft to achieve a fabric similar to that of rag rugs -- but in this case, far more elegant. I recommend people use this kind of fabric for jackets and vests.

The hand is lofty, almost spongy, which is part of its appeal. The last fabric is great fun: a collapse weave using an overtwist weft woven in twill blocks. The fabric looks like gauze on the loom but shrinks and collapses after washing. This type of weaving works for garments and scarves and can add immensely to the texture of any piece when combined with a 60/2 silk weft woven in plain weave, as shown in the photo below.

Here's a closer look at another fabric, woven with a similar weft.

There are 18 students signed up for the workshop to date, so I have been VERY busy winding warps. I will hand-paint them -- color just adds to the fun, even though this workshop focuses on texture and structure.

The second course I'm teaching is completely different from the first: It's a one-day studio class focusing on shibori techniques with natural dyes, appropriately named "Sawdust, Leaves, and Bugs." We will use some basic shibori-resist techniques as we work with osage orange (sawdust), indigo (leaves), and bugs (cochineal). The silk wrap below was dyed using these dyes and techniques, in a 6-step process. I began by immersing the silk in a vat of osage orange, then I clamped it and immersed in in a vat of cochineal (creating an orange color), then I folded it and immersed it in indigo (which produced green when added to the yellow and orange). Next -- and I believe that I did this twice, once on each end of the fabric -- I rolled the piece on a thick rope, scrunched it up, and immersed it in indigo. Finally, I dipped one end of the fabric in indigo. 

I find that the best results come with multiple clamping, folding, dipping, winding, etc. The takeaway from all of this is that more work produces better results!

A detail of the natural-dyed silk garment

And then, on Friday, I will be teaching a 3-hour "Super Seminar" on "How to Make Dorset Buttons." The technique, which was developed in Dorset, England, in the 17th century, is still useful for fiber artists today, as we can make custom buttons to match our creations or custom pieces to wear as brooches or clasps. While there are many modifications in making these buttons, I will be teaching a basic technique known as the Wagon Wheel.

Above, embellishment with beads adds to the whimsy of the piece.

So far, I have my class list for the 3-day workshop -- and I'm delighted to see that it includes folks from 10 states and Canada. So excited to meet everyone and watch the creativity unfold!

Juried into the Convergence 2016 Fashion Show!

"Blue Rills" jacket in deflected double weave, with painted warps

"Ode to Ann" scarf and tunic in collapse weave, 60/2 silk and overtwist wool

I just got word that these two garments have been juried into the 2016 Convergence fashion show, "Moving Forward," to be held in at the Wisconsin Center on Wednesday evening, August 3. 

The fabric for the first piece, "Blue Rills," is an 8-harness deflected double weave, woven in 18/2 merino and 20/2 cotton. I painted two warps (the cotton and the wool) in two different color palettes using MX Fiber Reactive dyes. The jacket pattern is by Marcy Tilton.

The second piece is woven in plain weave -- yes, plain weave -- with a 60/2 silk warp in alternating black and white threads. The sett is fairly loose to allow the weft yarns to collapse, making the fabric crinkle. I used three different wefts: 60/2 silk in black, 60/2 silk in white, and 30/1 wool overtwist. This pattern is also by Marcy Tilton.

Convergence, sponsored by the Handweavers Guild of America, draws weavers from all over the world -- gathering to take workshops, gaze at the exhibits, visit the vendor booths, and come together for informal and formal meetings. For those who love fiber, it's not to be missed. Hope to see you there!