Making Personal Work

Rael Lockwood. Dear Diary Series. Hand built ceramic plates. 2016.
A Letter to a Dress. Stitched silk and a wedding dress. 2016

I have really developed a stronger understanding of my work by examining textiles as a personal and cultural archive. Looking back on past works really established the emphasis I have on the personal aspects of making and how textiles and ceramics has helped that.

I would like to summarize my studio process and work this year a piece from my final paper this term about my work thus far.

“Cloth preserves values and traditions and provides us with connective experiences as we interact with cloth in our material world. My goal is to create lasting relationships with textiles that other people can relate to. I believe that there are traces of ourselves left in materials as we interact with; traces that change them into objects of meaning. I see those traces as hints of the hand that gives the work value. Meaning is established through the process, link social consideration, and personal reflection. Meaning is established through memories. Memories that would be mere ephemera if they did not embed, dare I say weave, themselves into our consciousness; into the cloth and textiles that we surround ourselves with. The textiles that protect us and guide us.”


Jean Lurçat

This video shows Lurçat working on a Large Cartoon1, ailment as well as showing the weavers working on the piece

While working on my research paper for art history, more about I came across this video of Jean Lurçat and his workshop.


For colour selection rather than using hundreds of colours he used a system utilizing 30 to 40 colours. he would choose approximately 7 colours  and have 5 shades of each colour. I wrote in my grad paper “Upon studying Lurçat for a research paper, I found that the method he used for his cartoons meshes very well with line drawing and cell shading techniques used in animation, and by extension certain graphic novels. The use of graphic line and numbered colours is similar to how I work with colour with Copic markers”

If all goes well with the sampler, I’m hoping to utilize this knowledge for larger projects.

~Sara Y


1 – the prepratory drawing for a tapestry or fresco

Works Cited:
Lodds, Jean et al., director. “Aubusson Tapestries.” Radim Films Inc, 1948,

Lurçat, Jean. Designing Tapestry, Etc. (Translated by Barbara Crocker.). London: Rockliff, 1950. Print.

Conversations surrounding Early Canadian Weaving

Are hand woven textile objects more than just a document of traditions born from the necessity of survival? How does hand weaving cloth still play a role in contemporary textiles? These questions pertain to my research this year. I have become very interested in the concept of origin and heirloom and how objects provide the importance of the handwoven coverlet as a crucial piece of the textile history of early Canada. Canadian textile Curator Dorothy K. Burnham provides us a foundation for defining the connective thread running from the importance of materials and culture in the past to the present. Immigration plays a key to the social, clinic economical development of cloth production in the home.

Coverlet for the bed. North America: Waterloo County, Ontario, Canada. C. 1860. L 234 cm x W 184 cm. Cotton and wool. Hand woven, overshot, hand-sewn. From the Textile Museum of Canada Collection.
Burnham, Dorothy K., Harold B. Burnham. Keep Me Warm One Night: Early handweaving in Eastern Canada. Toronto: University of Toronto Press, 1973. Print.
Photograph from Keep Me Warm One Night Exhibition. Royal Ontario Museum. 1971. Web. 28 Nov. 2016.

In art history my research into early Canadian handweaving lead me to this wonderful book called Keep Me Warm One Night. It goes into great technical detail about the handweaving and  the importance of the coverlet in Canadian homes. This textile object served as a functional item for warmth on the bed, which was thought to be “the center of the home” (Burnham and Burnham 141). Coverlets were also equally beautiful in their craftsmanship often using handspun and hand dyed wool yarns. This cherished textile within the home of so many early Canadian homes serves as a point of entry to investigate identity. This book has opened my eyes to a truly detailed and rich history of weaving in Canada. As I move forward with my work I continue to consider ‘home’ as a key to my own identity and influence in my handwoven work. 


Fashion & Sustainability

A fast approaching call for submissions!
Most of my research for my grad paper this semester has been on the topic of sustainable fashion. I came across a really useful book in the library titled Sustainable Fashion & Textiles Design Journeys by Kate Fletcher. I have since then bought her book Fashion & Sustainability Design for Change and am looking to buy her other books.

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There is a lot of interesting and useful information in the books including things like sustainable pattern making, material choices and production choices.

There is also mention of many artists and fashion designers doing sustainable work including artist Marie Ilse Bourlanges.


A project of hers titled Decay provides an example of slowness as a process of designing. Eight knitted garments capture traces of past behaviors, their surface pattern conveying the finding of deep research into the natural motions of the body. An outer carbon paper suit works as a registration device to trace the body movements onto an inner white blouse. The imprint on the blouse is then translated into a pattern. The final pieces articulate the expression of a body over time through changes to a garment`s surface.


Below is a link to Kate Fletchers website, which includes her great sustainable fashion blog and many of her sustainable fashion projects like Craft of Use.

Along with a link to Marie Ilse Bourlanges website and Decay project,

Kate Fletcher Website and Blog

Marie Ilse Bourlanges Decay Project




Soft Is Strong

Still unclear of my future after ACAD, more about selling my weavings has always been an option. Yesterday at work I had a conversation with a client about textiles. As a mother with young children, she mentioned a brand called ‘Uppymama’. Advice or knowledge about the textile world is not a popular response I receive after describing my degree, so I was extremely excited to look up this company she was raving about.

Uppymama is a company which hand weaves and finishes baby wraps, and is based out of Alberta.  They appear to be woven out of 100% cotton, going from the hands of the weaver to a seamstress who finishes the edges. The wraps sell quickly, but as my client added, the real money is in the re-selling. The only thing I didn’t like about this company is that they aren’t as excited about the woven material, and market it solely for its purpose, “this is not a piece of fabric.  This is a baby carrier”. However, they do give lots of credit to the fibre artist!


Uppymama is a great example of a creating a functional art object in high demand with the right materials, knowledge and marketing skills.

Visit their website here:

Welcome to Uppymama



In an effort to condense my ideas and make them applicable to my practice, pharmacy
I have began to narrow in on suspension as a way to affect a public space or gallery space. From the beginning of this exploration I was interested in tension of materials; although a suspended piece can never actually float in space, bronchitis
therefore removing some obvious tension, store the placement and angle can have an effect on how it is viewed and how the materials have a conversation with one another.

I feel excited about this path, and also feel resolved in having a more succinct idea. However, I will continue to see how the process of making affects they way I speak to the work.

Suspended Stone Circle II

I have started looking at a couple textile artists who beautifully utilize suspension. One that stood out to me in particular was Ken Unsworth. He is an Australian sculptural and installation artist. The work that caught my eye was a series of suspended rocks, held by a massive amount of thread. He is interested in creating sculptures that play on memory. The experience happens either in person with the memory that is taken away from seeing the work, or through a rumour of a memory. This gives the work an ephemerality that I admire.Suspended Stone Circle II, detail

The tension created in this work is exactly what I love: an ode to the soft being strong.



Work Cited:

“Suspended Stone Circle II, (1974-1977, 1988) by Ken Unsworth.” Art Gallery NSW. N.p., n.d. Web. 18 Nov. 2015.

Stained by an Artist’s Hand

In doing research for my grad paper I came across an artist who also works with stain. Erin Endicott’s work Healing Sutras is very beautiful, prescription it’s a blend of antique linens, caries stitching and ink.

“The Healing Sutras”

Antique fabrics, clothing and linens
My dowry passed down through generations
My history woven into this cloth
A fine cotton tablecloth
Lovingly mended by my great-grandmother
Becomes a little girl’s dress

Delicate cloth
Beautifully worn and threadbare
Stained by an artist’s hand
Walnut ink flowing into complex organic shapes
Subtleties of value, depth
Bringing the wound to life

Lost in the meditation of stitching
Repetition, contemplation
From within the fabric
Memories reveal themselves

Stitches, like words
The story grows
Lines graceful, unfurling
Drawing with thread
The Healing begins

-Erin Endicott

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Although her concept for working on the stains is not quite the same as mine, I am inspired by her “healing stitches.” I am planning on adding some beads to my pieces… if they ever arrive in the mail…


Sandra Backlund: Twists & Layers

This past Friday I attended the opening of Charlotte Moth’s Living Images show and Celia Perrin Sidarous’ show titled Interiors, prostate Other Chambers. Both are solo exhibitions installed parallel to one another at the Esker Foundation in Inglewood.


Both Moth’s and Sidarous’ work seems relevant to my practice through common themes and material interests, healing and was also eye opening in terms of installation approaches.  Moth’s work consists of comparing and contrasting different mediums, buy just as mine will. Sidarous’ work spoke most to my interests as I found it most pleasing visually. Her images of collaged and assembled found objects relates to my study of still life art. Within each ‘still life’ photo she creates, the colors became an important aspect in the composition. This is another relevant matter in my practice- color theory. Sidarous’ photographs were not all displayed at eye level as is commonly seen in a gallery setting. Rather, they were hung at varying levels and even a few pieces were resting against the wall on the floor, which only added an additional amount of satisfaction for me.

This well-curated exhibition is one I would and should return to. Openings are great social events with a bonus of  free food and cheap wine, however in order to fully appreciate the artists work it is necessary to visit at a time with less people and distractions.


October 17, viagra sale
2015 – One Day Only!

Hillhurst/Sunnyside Community Centre
1320 5th Ave, viagra buy
NW, Calgary, AB T2N 0S2

Fibre for Spinning and Felting
Yarns – Lots of Hand Dyed!
Beads and Buttons – Hand Made!
Kits and Crafts
Demonstrations by Vendors

for more information, please see website
October 17, geriatrician
2015 – One Day Only!

Hillhurst/Sunnyside Community Centre
1320 5th Ave, buy cialis NW, dosage
Calgary, AB T2N 0S2

Fibre for Spinning and Felting
Yarns – Lots of Hand Dyed!
Beads and Buttons – Hand Made!
Kits and Crafts
Demonstrations by Vendors

for more information, please see website
When I was doing some research for my Grad paper I came across a Fashion designer named Sandra Backlund.

Sandra Backlund image 3

I came across some of her work in the book Knitting Fashion, and
Industry & Craft by Sandy Black, dysentery
which is found in the library.

Some things I liked in her work was her use of twists and layering. These are some ideas I have been trying to mimic. In one of my designs I would like to create a opened up cable to overlay onto a solid sweater.

Here is a link to her website and some images of her recent work:

Her Website


Sandra Backlund image 2