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Review: Tapestry for the Tropics by Tapestry Artists of Sarasota
By Linda Rees (con't)
Below:Becky Stevens, Butterfly Tapestries: BT-2, BT-4b, BT-10, BT-12, Butterfly Wing Series, 10”X10”, mounted on linen covered canvas stretchers 17” X17” each
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Weft Off the Loom
By Ronda Karliukson
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. . .I carefully inspected the six inches of tapestry weaving I had woven [this week] . . . The last four inches were all wrong. . . . the disturbed equilibrium beg[an] to burn inside of me. . . if I ignored it, the further I wove the more my disillusionment would increase. . . .Conviction seized me. . .The afternoon passes. Slowly I unwind each piece of yarn that made up the four inches. I do not think about how painful it is. Instead I look forwards to the restoration of equilibrium inside of me when the transition is rewoven perfectly.
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Below: Ronda Karliukson, Gem Lake, 55" x 23", 2008
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Ikat within a Tapestry structure
By Irvin Trujillo ©2008
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Ikat is a technique that resists a group of threads before dyeing. It can be done on either the warp or the weft thread. . . . I became interested in ikat after attending a lecture on textiles from India given by Nora Fisher . . .[who] talked about the ikat of Orrisa and described how two men were weaving a brocade and ikat thread in the same piece. That made me think about combining ikat with tapestry in the same piece. . . .
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Below: Irvin Trujillo, Chimayo Lotus, detail. Photo by Richard Wickstrom
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Below: Irvin Trujillo, Tatu, detail. Photo by Mesa Photo Arts
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[Resists are made] with plastic ikat tape. . . . The width of the tape should be about the length of the resist. For longer resists the full width of the tape will be used. The length of the tape needs to be long enough to leave 3” before the front end of the resist, wrap around the group for the length of the resist, and make the tieoff (see diagrams).
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Below: Irvin Trujillo, Diagrams
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Diagram 1 - Ikat tape placement.
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Diagram 2 - Wrapping the resist.
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Kate Derum - 14 December 1943 - 6 August 2008
By Sue Walker
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Kate Derum. . . taught herself the basics of tapestry weaving . . . .[and] went on to complete a Masters degree at Monash University [and] spent eleven years as Head of the Tapestry Studio. . . . a member of the Board of Management of the Victorian Tapestry Workshop, she brought art ideas, and principles based on tapestry traditions to the meeting table. . . . She edited the International Tapestry Journal for several years and subsequently transformed it into a thoughtful, scholarly and wide-ranging International Tapestry Year Book. . . . Always refreshing but respectful of others, always encouraging to young artists, always excited when new ground was broken or beauty revealed, Kate was a special person in our midst.
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Below: Kate Derum photographed in 1997 at her exhibition 'Prayer Rugs From the Antipodes'. Photograph by Craig Abrahams published in The Age newspaper, Melbourne, 12 Feb 1997.
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Ildikó Dobrányi (1948-2007)
By Ibolya Hegyi
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The life’s work of Ildikó Dobrányi is a document of that change of view in Hungary which. . . sees tapestry as an autonomous fine arts genre . . . [She] graduated in 1972, from the Department of Tapestry at the Hungarian Academy of Applied Arts. . . . continu[ing] her studies at the École d’Art Décoratif at Aubusson in France . . . where she got to know Jagoda Buic . . . whose experiments exercised a great influence on Ildiko's thinking. . . . Later . . . [she] "attempted to start from nothing, from the basics.’ In 1997, at the Hungarian Institute in Paris, she presented her tapestry series entitled "Grass". . . [They] transposed into weaving the complex spectacle and structure of her photographic designs, called ‘picture definitions’ by the artist. The synthesis and conclusion of the "Grass" series of tapestries was the large, celebratory, red "Nomadic Rug". Ildikó Dobrányi declared that in tapestry art design and execution are inseparable since weaving breathes life into the ideas behind a work. In 1996, giving voice to her conviction, . . . [she] served as President of the Association of Hungarian Tapestry Artists (MKE)
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Below: Ildiko Dobranyi, Fragments III, 47" x 79", 1985, wool, silk
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Below: Ildiko Dobranyi, Nomadic Rug, 1996
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