Please note, during this Shelter in Place time we are not meeting physically, but are meeting online. If you are not on our mailing list and would like to participate in the online meetings, please email firstname.lastname@example.org.
Judy will teach a technique called “transparency“ that originated in Finland. The result is a piece that has areas of open weave that become “transparent”. The pieces are hung in windows and change when backlit versus front lighting.
Judy will bring examples and a warped loom so everyone can try the technique.
Sonya Hammons is a practicing artist with a focus on textiles, found objects, and the intersection of color and texture to evoke meaning. When possible Sonya links her art practice with her sustainability background, using materials whose production provides ecological benefits. Sonya has shown internationally in galleries and as site-specific installations. She is on the exhibition team of a contemporary art museum, and is testing the waters on Instagram as @totallyfabricated.
Stacy Speyer MFA, California College of the Arts; BFA, Kansas City Art Institute. Stacy is a textile artist whose work challenges the traditional rules of weaving. She exhibits nationally and is represented in private collections, including Brandeis Hillel Day School in San Francisco. Visit her website at stacyspeyer.net.
Joanne has been doing sashiko for about 4 years, expanding her interest in all things Japanese. Besides being lovely to look at, sashiko is a great small and portable addition to the needlework we all love to do.
Joanne will present a hands-on meeting with information about sashiko, a bit of history and examples in books, and the sashiko she has made for everyone to look at again. We will then work on a small sashiko piece at the meeting to take home.
There will be a preprinted coaster for each person, threads, needle, backing and written instructions.
I learned to weave when I was twelve. I had an extremely patient and wonderful neighbor, Irene Sherwin. I would walk down to her house and weave on her 8 harness Gilmore loom. I also made a thousand (by my inaccurate memory) hippy-type belts with card weaving during the 60’s. Then college, medical school, work and family occupied 24 of my 24 daily hours and I did not weave until 1996. Pam McCosker said, “Mill Valley Weaving and Yarn shop was closing because of retirement, swing by and get the loom and some yarn, because you told me you used to weave.”
Since Pam always had the best suggestions, I did what I was told and bought the loom, random leftover single skeins of yarn and the book, Warping All By Yourself, by Cay Garrett, because I did not have my mentor Irene by my side. The next day, I trundled off to work, with everything still in the back of my car. I met a new patient who was a master weaver and longtime TWG member, Yvonne Beller. Instead of asking her if she worked or was retired, I asked her a new question that I had never asked before (I am a slow learner). I asked, “What do you do for fun?”
She explained cautiously and slowly, as if speaking to someone with poor understanding of English, that she was a handweaver. I interrupted her immediately, “I just bought a loom yesterday and haven’t touched one in 24 years. She replied, “Then you must come to the Tamalpais Weavers Guild. We meet the third Monday of the month at 7 pm.” I showed up and restarted my weaving hobby then and there. I think if I hadn’t met Yvonne that day, the loom would still be in the back of my car to this day!
I alternate between trying something new with each project, and ironing out the details with a new technique. Full disclosure: I did not manage to get to the Echo and Iris workshop and so everything discussed at this workshop will be my struggling for understanding of this fun new world by book learning, Pinterest envy, and trial and error. Here we go!
SASHA DUERR is an artist and designer who works with plant-based palettes, natural dyes and place-based recipes. She is a professor at the California College of the Arts with a joint appointment in textiles and fine arts where she designs curriculum and teaches courses in the intersection of natural color, slow food, slow fashion and social practice. Her work has been shown in galleries and museums across the United States and abroad.
In 2007, Sasha founded Permacouture Institute to encourage the exploration of regenerative design practices for fashion and textiles. Her extensive work with plant-based palettes and ecological principles through local land-based sources and community has been featured in the New York Times, American Craft Magazine, Selvedge, and the Huffington Post. She is the author of The Handbook of Natural Plant Dyes (Timber Press/Workman 2011) and NATURAL COLOR (Watson-Guptill/Ten Speed Press August 23rd, 2016). She lives with her husband and children on their urban farm in Oakland, CA.
From Karen Meadows:
My fascination with textiles started when, as a child, I spent hours at Stinson Beach weaving reeds together.
This led to my first loom, a frame with string heddles and a cardboard reed. My room was covered with macramé and woven hangings. At College of Marin, I was lucky to study under Carole Beadle, learning the technical aspects of working a loom. This is where I made my first painted warp wall hanging, that hung in a student show. I loved all types of pattern weaving, clothing, and even furniture. Following my passion for connecting threads, I traveled to Guatemala to study back-strap weaving in the backyard of a family in San Antonio Agues Calientes, where I wove about one inch a day, and felt happier than I could remember.
I collected weavings and met with weavers in Greece, Morocco, and Turkey. In Bali, I studied with a family in the ancient village of Tengenan, where they have kept the art of double ikat alive for many centuries. I spent 6 weeks learning about their natural dye techniques, weaving and writing my M.F.A. Thesis for Calif. College of Arts and Crafts, (now CCA)
My hand woven clothing company supported my time in Grad School, I started out weaving dyed scarves and it turned into a 10 year business, with weavers and seamstresses working with the thousands of yards of yarn that I dyed in an ikat style.
The culminating experience of my life as a weaver happened when my piece was chosen for the Lausanne Biennale and traveled to museums across Europe. I continued to paint warps for wall hangings, commissions for public and private buildings.