Wednesday, May 18, 2016

arte Rose Wylie










Adding my 2¢ of opinion to an online discussion often seems like a good idea to me, at the time. So, but for the grace of Google, which has locked me out of commenting in my ScanWeave group, until I produce my long lost password, I'd have felt compelled to offer my take on a recent discussion:  how often to advance the warp off the back beam, and  how frequently to move the rocking pivots on the overhanging beater of the Scandinavian loom forward,  for the optimal beat.

It turns out there are many aspects to the subject, which generated heated interest.  Opinions vary from never moving the rocking pivots forward, from a Swedish weaver who averred that no Swedish weaver she knew would ever do it, to moving it alternately, while advancing the warp, every 2 inches, never mind the temple, also advancing.

Of course, this sounds like an exercise I could never accomplish, like bringing myself to a free handstand in yoga class, that would require coordination well beyond my current (or future) ability and concentration, both sadly in decline.  It's probably better I can't comment, because I am  unqualified.  For the record, I've moved the rocking pivots on my loom rarely in my long weaving career, and when I did, it was only as a desperate measure, to eek out a few more inches of a warp that was coming up short.

In days past this kind of discussion would have preoccupied me. Should I pay attention to this? I am self taught and suspect (with substantial evidence) I may have quit teaching myself too soon. Maybe I'm not a real weaver.

But I am always interested in lively discussions by other, knowledgeable weavers, which I love to hear, and experience, if only vicariously, standing outside the inner ScanWeave circle.  To be clear, the ScanWeavers have always made me feel welcome. I do share their intensity about weaving matters, and try to pay close attention to the finer points.  But, I find my interests often lean in a different direction.  My  best hope at this point in my weaving career, is to be a competent weaver, no more, but certainly, no less.  I weave everyday of my life. My genetic code has made me a Scandinavian weaver to the bone.  I try to improve daily, or at least try not to lose ground.

The intensity of my feeling, and my urge to weave, conversely, increases steadily.  This state of mind usually begins with an image, or a memory, a fragile apparition.  I prepare my warps with as much planning and care as I can muster. I practice patience as I work out designs. I work deliberately at each step of the warping process, and try not to rush.  At the same time, I try not to make stupid mistakes.  I supply myself with  the best materials and colors I can procure.  I am finally able to develop very good, even tension, consistently, across my warp. Though I'm quite impressed with myself over these modest achievements, other qualities interest me more, and are what drive my desire to weave as often as I can.

Painters are often the source of my agitation, and tend to send me off in new weaving directions.  Lately, my muse and model for all things artistic is the British painter, Rose Wylie, who likes a quality of "slightly casual misfits," in her paintings. My obsession with her painting is acute, and people close to me have already had their fill of it. I usually can manage to work Rose Wylie into any conversation.

 Rose Wylie has a lot to say about her painting process.  She prioritizes the "object quality" of her canvases, "the thread, the glue, .... the marks of registration."  She cuts her canvases and pastes them on in a very casual, not precious way.  She even used to paint, stacking her canvases on the floor,  and sometimes even walk on  them.  This was not because of a careless approach to her work, but out of an intimate connection with it.  Her work is both careful, highly structured, and meaningful.   "In all the imperfection,"  she says, "the object becomes your own piece of work, it becomes very much a part of you."

 What is more saturated with "object quality" than a weave?  The beauty of raw materials, the feeling and shape that use and time add to the quality of a weave, the power of color and texture to surprise us, and change our perceptions.  I also obsess pay attention to Rose Wylie's fields of color, the division of the canvas, the use of black line, broken lines, subject (memory)..... I'm in artist-love again! Seeing these images sends direct current to my brain as I weave, and technique is a far-off consideration. If I am making a good weave, while getting close to my idea, I've accomplished what I desire. What weaver doesn't feel that way about her work?  Most importantly,  if I burn this new imagery into my brain,  how will it change my weaving?  It will change it. I anxiously wait to see that result.

In recent years I have read some discussion of craft whose highest achievement is not its "finesse, polish, and virtuosity. " "Sloppy Craft" and Arte Povera offer pushback to the dominance of skill as the primary criteria in woven work.  I don't mean to diminish the importance of skill,  but also to beware of its tendency to overpower, and even hold back the weaver/artist from achieving what may be the better part in the work.

Maybe I should have been a painter, but  I'm content to be able to call myself a weaver, even if it's just by the skin of my teeth.

Rose Wylie!


Friday, April 15, 2016

weights and measures











I don't know how much I weigh in stone, maybe 2, as in the above pictured.  Just guessing.
The days are progressing convincingly toward warm-spring, as we leave winter-spring behind.  I read yesterday that the Sami in arctic Scandinavia counted 8 seasons in their year.  Mud season is our equivalent to warm-spring.

 There is just a little leftover snow in a few northside places. Multitudes of tinnitis inducing peepers sound off in the evenings, raucous birds sing for mates well before the sun has risen, spring beauties are showing,  and geese and sandhill cranes are persistently setting on nests of eggs.  Sitting?

I've been weaving spring scarfs on a fresh 26 yard warp, since Groundhog's Day officially marked the turn of my workshop calendar from winter to winter-spring.  I put away cashmere, alpaca, and merino, yarns, and started in again on the perfect 4:  linen, cotton, hemp and silk.  This year I have new West Texas organic cotton from Voices of Industry to add to my usual Bockens. It is a beautiful and lustrous cotton, in milky white.   I've been using it in overshot designs, which remind me of cake frosting, on wedding cakes, specifically. (We have been eating a diet free of lactose,  gluten and sugar for the last 2 months, and I find my thoughts turn frequently to cake).

I've been very excited about this weaving, and apologize to anyone who has visited me in the workshop in the last month, if I have raved on about things weaving after you have lost all interest.  Maybe it's the diet!

In the woods, I have confronted a large, placid raccoon that has me unnerved, and I am not usually worried about anything in the woods.  On its first appearance, near where the turkeys danced, it simply sat and stared at us as Daniel and I walked by. Actually, Daniel decided to approach the sitting still raccoon, for reasons of his own, and when it didn't move away, kept approaching it.  I offered an opinion, from further back, What if it's not well?    It's healthy, he said, from ten paces in front of the beast.  I walked away, and Daniel caught up with me.

It didn't run away, I said. Yes it did, he said.  Later we encountered it, again, sitting near the same place.  It stared, unmoving, while we walked past.  The next day I walked up the  hill road and took the same trail out.  As I neared the place where the raccoon had been, I remembered it, and started peering under the trees. Thankfully, I didn't see it.

What if it's on the other side of the road?  I thought, and turning my head, came face to face with the stare of the same raccoon, not 10 feet from me!  Startled, I screeched a little, then slowly turned and walked away, not to appear as if I were running away.  I thought it might feel like pursuing if I showed fear, and I wondered how fast a large, ill raccoon can run.

Truly, I haven't a clue what any animal thinks.  After a while of brisk, and brisker walking, I hazarded a glance back, and saw no raccoon, teeth bared, giving chase.  Then I ran.


Saturday, March 19, 2016

looking











One time, driving my teenage children home from school, I thought I saw a small red fox, running across a field.  "Look! A fox!" I cried.  "Mom, it's a Walmart bag!" they chorused. Of course, it was a Walmart bag, my eyesight not as keen as I thought.  And I was the driver!

I'm aware how easily my powers of observation may be shaped by my desires. So, when I climbed the hill road last Sunday and saw a shadowy, hulking shape where the road forks, my first thought was that some inconsiderate had left a pile of trash bags on the road. 

 There were some low hanging branches obscuring the details, but what I saw on the next step was two turkey hens bobbing around a handsome-ish Tom, whose whole tail was fully fanned, while he twirled like a figure in a music box.  It was momentarily mesmerizing, a moment when I wished for my camera, only to realize it was hanging around my neck, but the turkeys had already seen me, and vanished into the pines.  

The reverse of my Walmart bag-Fox misperception! 

 The turkey mating scene was extraordinary, and showed me again,  how I rush to assumptions, which prove to be wrong.  Why assume at all?  Why not just open my eyes and look at the thing before I have to know everything about it?
When I was a  young girl, I remember spending a lot of time staring,  not particularly trying to make sense of anything I was seeing.  I think that was a better way of looking.

Bee Yard Report:

Bill Pike showed up in the bee yard  this week and opened up a bee hive to have a look. It's only March, but there were the honey bees,  their back legs loaded like little golden drum sticks with yellow pollen.  Where did they find it?  Nothing is blooming here yet, only pussy willows. It's bee season, but I think they are still tapping the maples. Bill was happy to see the fresh activity in the hive,  and happy to be back at his bee-keeping.   He's spry and a few years past 80. He told me he'll keep bees as long as he can walk. In that case, it looks like he'll be at it for a good while yet.

Watercress is filling up the spring!  So nutritious, so peppery, my spring tonic.

And, one last picture, seldom seen on this blog,  my husband, Daniel, who planted our woods.





Saturday, February 6, 2016

Ground Hog Day Blizzard, 2016










I have a banjo that I don't know how to play yet.  I practice holding it, and look pretty good.  It is still possible.  When I can actually play the banjo, there are 2 songs I want in my repertoire:  Cluck Old Hen, and Ground Hog.

We ate the meat and tanned the hide,
the best shoe laces that ever was tied, Ground Hog!
 is the line that kills me. 

I love this song, despite being vegetarian,  if I don't count fish as living creatures.

Our Ground Hog Day blizzard was a doozy, and did not disappoint, after all the extravagant predictions.   The world went white, and in a few short hours, we had our beautiful Wisconsin winter, at long last.  I felt so sorry for my friends, posting pictures on facebook, of themselves sitting in hot tubs, sipping cool drinks, on Sanibel, or out on Key West walking around on a beach, doing nothing in particular.

We Wisconsinites in our Rightful Place had snow to shovel, and we got right to it.  The beauty of snow laden boughs and branches was legendary.  When the sun came out, on all that beautiful
white, heaped and piled on every little thing, our spirits soared!

I took my wool rugs, mostly woven by my mother, out in that pristine, crystalline white.  This is the kind of snow to pile on those woolen weaves and broom off.  They'll look so bright after you sweep them with snow, my mother always said, and she did, and I do (and those rugs do look bright).





Tuesday, January 5, 2016

snow on the hill
















It is time to take down the little tree in my store. Take off tinsel, cut paper snowflakes, folded paper stars, and put them away someplace that I can remember to look for them next November.   This morning was finally  cold and crisp, the way I expect January to be.  When the sun finally rose above the trees on the hill it was after 10 a.m.  The hill road and woods are full of soft, white snow now.  Snow white is an intense color.  The hollow owl tree's enigmatic runes caught my attention. Snow shoes worked.

 A deflated Jesus Loves You balloon, that fell from the sky into the crabapple, was still tangled there. The steep hike made my hands too warm, so I dropped my mitts, where they looked like startled snow animals, about to run away.  My, I was hungry!  I came home quick, and made a little pizza, for lunch, glutenous, topped with anchovies, artichokes and wild leek pesto.

Friday, January 1, 2016

here we are

















Out with the old year, in with the new!  At first there was no snow, and then a light dusting
on Christmas Eve, so pretty!  Then a blizzard struck. They called the wind Goliath.  But it is still beautiful, just more of it.

The new town plow came out, and funny how glad I feel to see it clearing the roads.  The plow guy I hire to clear my driveway missed the blizzard, because he is vacationing in Florida.  His understudy plow guy is also vacationing, in Florida.

The next alternate plow guy, under-understudy, had enthusiasm, but had not plowed my particular
circle drive before, and so didn't know about my parking spaces, left unplowed.  He arrived a day late, with 3 pages of driveways on his list yet to plow,  and though I saw he started out confidently at the bottom end of my  driveway, he ended by meandering up into the beeyard, where the trail ended! He backed out, apparently, and left quietly. So, I took my shovel to the end of the drive he missed plowing, and worked until I was afraid for my weaving arm. Actually, afraid for both of my weaving arms.  It is trance-inducing work, like scything in the summer, and maybe weaving.

Chop, chop, chop the blade down into the snow bank.  Scoop, throw, scoop, throw.  I tested one of my winter scarfs in the process, and was satisfied with how it functioned, and how good it must make my shoveling style look!  I  hope.

I am ready to put on a new warp, today, and very indecisive.  I'm looking at overshot designs, and then longing again for my old favorites, Goose Eye and Rosepath.  New West Texas organic cotton from Voices of Industry will surely go on one loom, but the other....?  Suddenly, inspiration strikes.  "Linen! It's been so long since I had a beautiful, unbleached Swedish linen warp."  I'm so relieved, and start rounding up spools, counter, tension box, making calculations in my book, already anxious to see the new weave! Just as I begin, I remember.

Never, never put on a linen warp in January in Wisconsin.  I know this, I know this,
from so many sad experiences.  I should have it tattooed on my arm, since I very nearly forgot it, again.

January and February are too dry and cold, and linen will work with me only when it's warm and humid.  So why do I always want to put on linen warps now?  This is the time to let linen lie.  Sigh.  So,  I decided to write this blog post instead, but now I must decide, if not linen, then what? And so it begins again.

Happy New Year, good friends, artists and weavers, careful readers. You are a real presence to me, and I envision each of your lives when I see your comment.  I imagine you in your place, and I'm happy to know you, if only a small part of who you are.  I have appreciated your comments and knowing some of you check here every now and then to see what the news is! Imagine what we can do this year, if we put our minds to it.

Susan