. . . I weave narratives using a tapestry technique in which a human is in the middle of life’s complexity and multi-layerism, including contrasts and controversies.  I aspire for a little bit of order in the middle of a chaotic world. . . .

Nowadays I get all of my threads from flea markets.  That way surprising tones and materials appear in my colour palette. Weaving is also finding; even though I have practiced this technique for over 30 years, I am not in complete control of the threads. Chance has its role: for example when I weave a face, the threads may position themselves so that a smile turns into sorrow or anger becomes joy.

below: Aino Kajaniemi, DECORATION, 2008

below: Aino Kajaniemi, THINGS I NEVER DID, 2007

. . . For me it is the surface of tapestry that gives it its truly expressive quality.

The process of tapestry weaving fascinates me, the building up of a structure of warp and weft.  When constructed with a variety of materials, natural or man-made, traditional or experimental, each contributes its own surface and character.  A structure produced under tension will relax when cut from the loom and take on its new identity.  Tapestry is an art form that can command . . . a physical presence that no other art form has.

below: Fiona Hutchison, OVER FALLS, on the loom, detail, overall image 95" x 20" (240 x 50cm)

below: Fiona Hutchison, MORNING PASSAGE,  59" x 35" (90cm x 105cm) 1999, woven on white cotton warp at 8 epi, wool, cotton and linen with deconstructed sisal to create the texture.

below: Fiona Hutchison, MORNING PASSAGE, detail

below: Fiona Hutchison, SEA DOOR, 59" x 42"(150cm x 107cm) 1993

Newletter     of     the     American     Tapestry     Alliance