My Third Student from Overseas 
This has been a very busy week for me as I have my third student Sharon who hails from near Boise in Idaho. She is spending two weeks with me, sharing my home and studio and learning to weave her first tapestry. We are having lots of fun and Sharon is thoroughly enjoying weaving the small work which features a native New Zealand flower.

Sharon has been progressing well with her first tapestry. She is picking up and understanding the underlying principles behind the techniques and that enables her to weave more quickly each day. I think she will complete the tapestry within another three days so that will give her time to learn some other techniques that do not come into this tapestry. Pick and pick, soumak,ghiorde knots and other textural techiques, some more practice with hatching etc will all be good for her to learn.

Canterbury Spinners and Weavers Area Exhibition 
Last week I attended the opening of the Canterbury Spinners and Weavers Area Exhibition. I had submitted 'Lace 2' the tapestry of my daughter in to this exhibition and I got a lovely surprise when the work was awarded a special award called The President's Award. Here is a photo of the tapestry as it was shown in the exhibition.

Here are some more photo's of the exhibition in which the quality of the work was superb.

The portrait commission is Progressing 
I am progressing well with the portrait commission. Yesterday I worked on the first eye and I think I have got it okay. I was hoping that I would not have to unweave it and do it again, and, looking at it, I don't think I will have to do that. This first photograph was taken a few days ago when I had been working on the numbers to the left of the face. These numbers relate to James' life and his wife Julia wrote them out for me. i have tried to weave them in as near to her handwriting as I can get it.

The photo below shows the design concept on paper.

And this next one shows the work with the first eye woven.

Today I will start working on the second eye. It is amazing how the essence of a person comes in once the eyes have been completed. I find they are the hardest part to weave on any tapestry portrait, and it is so important to get it right. I also had to do quite a bit of unweaving when I was first working out the tonal values of the grey/blues in the face. This work comes to life when it is viewed from a distance. Close-up it looks like a whole lot of shapes and colours. The face can be seen alright then, but it really is designed to be seen at a distance.

A change around in the studio 
Since the earthquake we have had a bit of a change around in the studio, trying to make a little more room for visitors to wander about in without knocking into plinths or suchlike. I have also filled up the walls by hanging the tapestries on the back wall instead of having them hanging from the cupboards and the looms.

Here I am with my camera standing by Wilson's loom photographing my space (just imagine I'm there as you can't see me, but I am behind the camera). You can see some of his jackets and scarves to the right and the tapestries 'Lace 2' and the two 'Underfoot' pieces on the back wall. It was a bit of a mission getting them hung up there as I had to get the big ladder and prop it up against the wall to hang the pieces there. The small tapestries are on the wall to the left and we shifted Anne's blankets so that they could hang on the racks below them. The tapestry 'Gianna - Portrait of a Grandchild' hides the yarns on the shelving unit. The door to the studio opens on to the stairwell landing.

Here is another view. You can see the collaborative tapestry 'Do not Stare' hanging across the top beam of the empty loom. This tapestry was designed by Paul Johns, a Christchurch artist. This tapestry was also the most difficult one I have ever woven, two large circles for the faces and smaller circles for the eyes - very difficult to weave perfect circles in tapestry. Lots of unweaving went into this work.

Here is Wilson's spot in the studio. You can see his 8shaft Mecchia jack loom with a warp waiting to be wound on to the back beam. His rack of jackets, vests and wraps is to the left of the loom and his scarves hang on poles from the ceiling.

I am progressing quite well on this commissioned tapestry. The sett is 11epi so it is reasonably fine to weave. I really like working with these greyed down blues.

Stuff Happening in the Studio 
Yesterday was a different day in the studio because the guys were drilling the broken chimney above the studio. They were drilling 4 metres down into the stone to be able to put steel rods in to stabilize the chimney. There is no fireplace in the studio or in the basement below us but the chimney goes right down into the basement so there must have been some fireplaces in this building at some stage. The drill made a terrible noise and I felt it all in my teeth!!! Sounded like a very bad dentists drill. Ha ha!

Here is the tapestry commission that I have been working on for a wee while now. The tapestry is a memorial for the man featured in it. His wife has commissioned me to weave the tapestry which will pass on down to her son one day.

I have done about three weeks work on it now and yesterday i decided that the tonal value of the mouth was wrong, too dark, so I took it out and needle wove it back in, with a lighter value. I think it looks much better. i have actually done quite a bit of 'unweaving' in this work so far, as the tonal values are so important to get right.

Here you can see how I have lifted the woven section above the mouth and taken the weft threads out, leaving the warps bare.

It is always a bit of a pain to have to unweave a section but it is worth the effort in the end, and if it is done as soon as possible then it is not too hard. It would be really difficult to do after the weaving was completed. I learnt this the hard way many years ago when I agonized over a tapestry that I wasn't happy with and thought that it might be okay. However, I ended up undoing almost half the tapestry and reweaving it. A big lesson, and now I always say, 'If in doubt, take it out!!"

After the Earthquake 
What a shaky few days we have had after our major earthquake early on Saturday morning. Today was the first day we were allowed into our studio and I was quite surprised to find that it was mostly alright - no damage to any work or to the looms either, so all good. However my corner of the studio has quite a good crack in it and my light box table, computer and printer were covered in concrete dust, small stones, rusty nails and dust and more dust. It took me a good couple of hours to clean it up. You can see the dust sitting on top of the small tapestry 'Do not Stare' which is a collaborative work with Paul Johns.

Yarns were thrown all over the floor, but the shelves did not fall down and it did not take too long to get them back up in place again.

And here is another view of the yarns on the floor, also showing my latest commissioned tapestry on the loom. Luckily this had no damage either. I have been working for about two weeks on this tapestry and it is going along nicely.

One of the saddest sights I have seen today is the cutting down of the old gingko tree in the South Quad. I can see this tree from the window of my studio. Unfortunately it has had to come down because it is very close to the Observatory Tower, which also has to come down, little bit by little bit. I do hope that it will be able to be rebuilt, but am not sure yet whether that will be the case. Below is the view from my window showing the Observatory Tower and the gingko tree in the process of losing its life. I think it was one of the first trees to be planted in the Arts Centre, so a very sad day to lose it. I can't imagine the Arts Centre without the Observatory Tower and am just going to hate watching that come down too.

Finally - The Cutting Off 
Last night was the night - the cutting off of Lace 2. It has finally happened! The tapestry is off the loom! Hoorah! We had a great celebration. Almost 50 people, friends and family turned up for this event on a very wet, cold miserable evening. But what a lovely time we had.

Friends enjoying the evening. Caroline Bull, in the purple scarf,is chatting to Gwen Cairney with two of my sisters-in-law, Claire to the left and Marilyn to the right, looking on. Caroline and her husband Geoff Low, brought a friend, whom they introduced to me as Richard, to the cutting off and I was awed and excited when I discovered that he was none other than Richard Nunns, who is a most amazing musician specializing in ancient Maori music and bird song. He gave us a wonderful surprise, when to quieten the crowd so that I could introduce Lissie, he brought out a greenstone whistle and beautiful bird song suddenly filled the studio. Awesome! Thank you so much, Richard.

Here I am introducing Lissie, standing in front of the tapestry.

Lissie cutting the warp threads.

And here it is, the right way up at last.

And today after lunch and a very hectic morning, a very understanding student who put up with me rushing here and there and giving her only a little attention, pinning and sewing the side seams and the velcro on to the tapestry, gluing the velcro to the baton and finally we were able to hang it on a wall in a spare studio in the Arts Centre and photographs were taken. Here are Lissie and I posing while 15yr old Connor takes our photo with the finished or almost finished tapestry. Still some threads to sort out at the back of the work and the sides to be finished stitching. All good and so pleased to have it finished after so long.

The tapestry is fiinished. 
Hooray! I wove the last of the heading and the last row of soumak knots yesterday and now the tapestry is finished. It is sitting on the loom waiting for the weekend when Lissie will cut it off. So I have a whole six days without any weaving to do. Good for my body probably but it will feel a bit odd not having a tapestry on the go. However, I have some drawing to do and a garden at home to sort out and housework that could be done, so I will keep busy.

The Millennium Tapestry coming down from its place in the Mayoral Chambers 
Yesterday morning the Millennium Tapestry was taken down from its site in the Mayoral Chamber of the Christchurch City Council. It is going to the Christchurch Art Gallery to be stored until later next month when it will be hung in its new place in the brand new City Council Building. I went along to watch it come down from the wall and checked it out for any damage and also gave it a light vacuuming to get any dust off it. It is actually in very good condition. This work was woven as a community arts project for the year 2000 and almost 3000 people in Christchurch and visitors had a hand in the weaving of the tapestry.

Here is the tapestry still hanging on the wall in the Chamber, whilst discussions go on as to the best way to take it down.

Rolling the tapestry from the bottom

The guys balancing on top of the ladders as they gingerly remove the tapestry from the nails, lifting it out and down.

And down it comes! Me! I was on the other end of the camera, watching proceedings and thankful that they didn't drop it. I don't own this work any more, but it is surprising how proprietal I feel about it.

And here I am! Almost finished vacuuming the tapestry. It was quite dusty, especially along the top where it was attached to the baton.

Two more weeks to finish the Tapestry 

On the weekend of the 7th August my daughter Lissie and her husband Ian and son Connor are coming to Christchurch. Lissie is going to cut the tapestry off the loom and we will have a celebration. It will be so good to have this tapestry finished. It has been on the loom for so long and it is now time to get on with other work. Since my last posting on Monday of last week I have progressed a lot and there is now two more weeks left to finish the work. I think I am on track to do this.

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