Clasped Weft Weaving

In my latest piece I was using the clasped weft technique as a way to interconnect two different types of threads in the same open shed.  In my case, discount I was using cotton and wool roving yarn as a way to explore the different ways these two materials shrink and behave after washing.  20161126_132037

However, pilule the most common use for this technique is to have two different colors or textures of yarn in a single row of weaving.  This really is a simple technique with limitless design potential.

If you are interested in learning this technique has an informative blog entry by Kaz Madigan called, viagra  “Clasped Weft Weaving: Easy, High Impact Designs to Try“. Included are step by step pictures to help you get on your way.  If you prefer videos Kelly Casanova has a very thorough video for weaving this technique on a rigid heddle loom.  Below is a picture of the finished piece she works on in her video.

Kelly Casanova. Clasp weft table runner. Cotton. 2016.
Kelly Casanova. Clasp weft table runner. Cotton. 2016. <>





Detail (Emmelia Taylor, try 2013)

virginali verecundia
damnaque sexuali
{One state of being, a transition through blood and intimacy.
Too harsh, such haste to change. Possibility of something pernicious.}

Silkscreen and sewn garment, dip dyed fabric, printed turban cloth. Inspired by Salem Witch Trials, and 17th century garments.

virginali verecundia; damnaque sexuali     (Emmelia Taylor, 2013)

I have been thinking a lot about my identity. A great deal of it feels lost, and a lot of that has to do with feeling stuck. “Feeling stuck” doesn’t really justify how  I really feel. Still, I am powering through,  and  utilizing this sense of void to as much of my advantage as I possibly can.

I have responded to this sense of  misplaced identity by going to the roots of where I often feel lost. This has caused me  to consider sexuality and spirituality, while still continuing to  respond to, and think about, historical people and events.

I created this garment for my silkscreen class. It consists of a heavy gown with silkscreen details along the front hem, and lacing up the back; a silkscreen printed mask, which is three layers stacked upon each other; a dip-dyed shroud. The overall appearance was inspired by a 19th century image of a woman, and 17th century fashion.

This garment is about virginity. I have been thinking a lot about sexuality, and the place of women as sexual  beings. I drew parallels to the Salem Witch Trials. I am still thinking about what it means in all of its forms, and in its whole.  I am at a moment where I need to make, and give meaning as I work, and afterwards. Still, identity is a trigger for what I am creating.

oh my go, denture
how did I not know about this.


2013-11-22 09.42.24 2013-11-22 09.42.30 2013-11-22 09.42.35 2013-11-22 09.42.42


its not really apart of my senior studio work but i thought i would make a post about my weaving because i just really enjoyed making it. now that i have finished it a few weeks earlier than its due date i no longer have it as a excuse to not work on my senior studio stuff. the drape on this is amazing and its made from; nylon, medicine
cashmere, merino, and baby alpaca, silk dyed with lac. i have extra of the dyed baby alpaca and silk blend so guess i am going to have to make something with it soon.


Hand Painting a Warp

I am weaving for the first time this semester, online I haven’t decided if I will ever look at a loom again after this semester or not. I will say that no matter how tedious and hell like untangling 2400 meters of silk and then threading 600 threads through 600 heddles and then tying 600 little knots  was I am incredibly pleased with the results and, admittedly there were parts of the process that I did enjoy.

After winding my warp I stretched it over a table and used acid deluxe dye to create a hand painted gradient onto my silk.  For fun I silk screened some orchids onto one of the projects

I definitely created more work for myself than was necessary for this project, the first project from this warp is off the loom and I am feeling like it was worth the effort.


Weaving as Metaphor

Kay Sekimachi is a weaver who lives and works in California. Her work is described as “about ‘idea’ in its original Greek sense of ‘form’.” (Koumis 18) Her weavings have a simple precision that belies the complexity of weave structure that is required to create much of her work. Sekimachi’s weavings are objects which poetically express the language of line, capsule surface and dimensional form (Koumis 17).

She is a Japanese-American who took up weaving when she saw weavers while in an internment camp in her youth. She went on to be influenced by Anni Albers and studied under Trude Guermonprez.

Sekimachi is best known for her multi-layered weavings. In the 1960s she experimented with nylon monofilament, then a new material, to create translucent hanging sculptures whose layers unfold off the loom to create objects “Spectral and serene, crisp and softly cascading…as much an interplay of air and inspiration as a reflection of her remarkable innovation in weaving structures…” (Koumis 12).

Nagare III, 1968
nylon monofilament 4-layered weave, tubular weave
87 x 15 inches
Amiyose, 1965
nylon monofilament, 4-layered weave, tubular weave
60 x 12 x 12 inches

Sekimachi also used double weaves to create woven books and boxes; unexpected forms for handwoven cloth.

Portfolio Collection: Kay Sekimachi
100 Views of Fuji, 1981
Linen, double weave, transfer print on warp
4.5 x 4 x 20 inches when open

If you are interested in seeing and reading more about Kay Sekimachi and her work, our library has a great book pictured above.

-Andrew Penner

Koumis, Matthew. ed. Portfolio Collection: Kay Sekimachi. Bristol: Telos Art Publishing, 2003. Print.
I was recently once again looking through a beautiful book on Sheila Hicks, medical Weaving as Metaphor.

Stritzler-Levine, clinic
Nina. ed., sovaldi
Sheila Hicks: Weaving as Metaphor. New York: Yale University Press, 2006. Print.

This book not only contains a number of beautiful small weavings from Hicks which she wove throughout her life, but it also contains some interesting writing on weaving. The one essay that particularly fascinated me was the title work by Arthur C. Danto. His aim was to write about the meaning of textiles and weaving beginning not from a culture distant from our Western context, but from the Greeks, whose culture and thought our own civilization is descended from. Danto goes on to talk about how Plato, who had a decidedly negative view of the fine arts, in his writing about statecraft drew on weaving as the ideal metaphor for how government should function. The use of weaving as such a metaphor suggests a higher view of weaving for the ancient Greeks than we might have thought, one that praises weaving for its practical and philosophical value. This has interesting connotations for the way we now write and talk about weaving, in a time when industrial weaving has set a cognative barrier between us and the process of weaving (Danto 33).

Plato saw weaving as a more valid art form because it did not seek to imitate or copy an external reality, it had originality and beauty in how it combined two often diverse materials into one unified whole.


-Andrew Penner

Contemporary weaving links Part 1

As promised here are a few links to artists featured in my recent presentation to the class plus a few new ones. I also found this interview with Kay Sekimachi that I thought you might find interesting given your current project. Notice how she uses the colour changes as cues for wrapping sections of warp!

Anni Albers

Magdelena Abakanowicz

Lia Cook

Louise Lemieux Berube

Ruth Scheuing

Richard Landis

Chiyoko Tanaka

Virginia Davis

Christy Matson

Deborah Valoma

More soon…

Theo Moorman Technique

Hello weavers, gerontologist
here is a little more information about the Theo Moorman technique…

Theo Moorman MBE 1907-1990 was a dedicated artist weaver with a lifetime of experience. She developed her own individual technique, case
exploring its potential over a wide range of designs and textural variations. READ/SEE more…

There is also an article on Weavezine with good technical information and a unique application of the same using a fine printed rag weft inlay as an overall “background” with an additional, second inlay rag strip to highlight part of the printed pattern. I wonder about the potential of this using your own hand-printed cloth?

Here is another interesting article on the same site with some good ideas and images for using plain weave in different ways…happy weaving!


Lam’s long weekend

I had 9 hours of sleep last night without getting up every few hours scratching and putting lotion on, pilule so I am a very very satisfied child right now. 🙂

Lest We Forget

Last week I was unproductive, and very emotionally, I think it’s mainly because of the rashes I’m having since October. At first I didn’t care as every winter I get rashes like this, it comes and goes away within a week. But this time, it stayed and got spread all over my body, so I was scared and panic that it won’t go away, and it got even worst last week. As we were having the Atelier show in Art Central, I was modelling one of my wearable piece, I tried to cover the red rashes with foundation. My skin got reacted, so for the whole week I couldn’t sleep well and it really bothers me. So I finally told my mom in Hong Kong and went to the doctor. The doctor gave me Lyderm Cream to put on, it didn’t work at first, but it is finally working! My mother also ask advises from my family doctor in Hong Kong, she advises me not to use any shower soup, especially not on area where I have serious rashes, because those shower soup contains a lot of chemical substances. She also said that it can’t be wool that I’m allergic to (thankfully) as I’ve been working with wool since last year. She thinks it might be stressed, the dry weather and the foundation. Well we will find out when I go back to Hong Kong in December.

Anyways, so my advises to you all is never try to cover up any injuries or rashes or anything with foundation, let it breathe, and go to the doctor immediately if it’s getting worst. Also, don’t ever take 5 courses in your final year, as some fourth year courses worth 4.5 credits. I’m taking two 4.5 credits and three other courses, adding up together, it equivalent to 6 courses work load. So don’t ever do that, try taking 5 courses each semester in first, second and third year, then in your fourth year you only have to take 4 courses each semester. I think I overestimated myself, I thuoght I can handle it, but I can’t. On top of that I’ve applied for ArtaWEARness, going to do Show & Sale, and also planning to do a collaborative ParkShow project about the mixture of Chinese and Philippine culture with Patricia (Jewellery major & Fibre monitor). I know I should not complain at all, because I am the one who put myself in this kind of situation, but at the same time I’m thinking, if I don’t do it this year, when am I going to do it? So all I have to do is breathe, suck it up and just do it!

Another advise, if you really want to do ArtaWEARness, just apply in your second and third year, if you don’t get in, at least you know you’ll have a second chance, whereas if you apply in your final year, you going to be paranoid whether you get accepted or not. Thanks god I got in, otherwise…… I would be so sad. 🙁

As last week I was too lazy and was not able to focus, so I only have pictures of my weaving work. I’m very happy with the outcome of the tube and especially the shawl (they are now displaying in the Fibre department around the elevator area). I honestly think this collaborative project is a big challenge, because everyone has different taste, so from the beginning my partner and I had a lot of arguments regarding to the size and the pattern choice. I’m glad we’ve resolved the problems together at last.

I do like double weave, but it’s challenging as you couldn’t see what happen inside the tube. At the end after I cut  the weaving off, I noticed that I’ve missed a couple threads which frustrates me. Anyways, I’m glad it’s finally over, for our final independent project I’m going to weave a poncho for my mother for Christmas.

This is my mommy <3 Thankfully we have same size (well I think she’s 10cm taller),  it’s close enough that I don’t have to worry about whether it fits her or not, but in terms of colour choice and pattern……. any suggestions?

Intro Weaving

When I was in second year, tablets I never thought I would like weaving, anorexia because I am such an impatient person. I dislike any slow and labour intensive process. Then, for some reason I took a tapestry course with Jane last fall, and I really enjoyed it. It works like a “mind therapy”, and while I am concentrating building the image, I don’t have to think about other things.

After taking this course, I started to develop special interests in yarns, and realized that I would probably like weaving as much as tapestry. So I decided to take the intro weaving course this semester, even though I am literally taking 6 courses for this semester, I think it’s worth it.

Here are some images of my first project.


-Vicky Lam