#Weft and warp how to#
#Weft and warp series#

The unfussy and disciplined nature of the weaver is self-evident in the palette of most of the exhibits вЂ“ refinement and precision of colour is common вЂ“ an almost minimalist approach to allow the structure, surface, and texture to breathe on an equal footing with the visual impact of colour.

#Weft and warp series#

вЂTo weaveвЂ™ has itself become the concept behind her intriguing series of sketches, interpreted and investigated through mechanical drawing, CNC routed wooden planes, hand woven cloth and power loomed jacquard. Ismini SamanidouвЂ™s collaborative work with Gary Allson is a work in progress a conversation in materials and techniques stemming from her time spent with a traditional reed maker in Bangladesh. Ann RichardsвЂ™ delightful pleated necklaces are self forming a careful combination of structure, yarn and finish result in a delicate yet decisive work that invites curiosity. The works all share an aesthetic elegance underpinned with true technical ingenuity. My aim is for preconceptions about this most ancient of crafts to evaporate. To the initiated, the exhibits do not show what youвЂ™d expect to find in a weave show. There is a reverence for tradition deftly interwoven with an enthusiasm for new technology, new aesthetics and new making methods. The connecting thread for the work selected for this exhibition, is that all the artists take a decidedly unexpected approach to weaving. You also need to embrace the prescribed boundaries that the loom commands вЂ“ the vertical warp and the horizontal weft вЂ“ and then with an intellectual dexterity strive to challenge those very boundaries to work with them and against them at the same time. Many years of study are required to build the requisite vocabulary вЂ“ the weaversвЂ™ вЂcraft technologyвЂ™ skills are the foundation upon which design and artistry are built. To be a weaver requires great discipline, patience and a commitment to вЂhard workвЂ™, but the rewards are palpable. The choice to weave is an unforgiving path to follow.Д«ut it is these very challenges that weavers relish. ItвЂ™s certainly not an option for those who want quick results and instant gratification. Invariably the least popular pathway on textile degree courses, weaving is seen to be too slow, too technical, too prescriptive, too flat, too restrictive and with no margin for error.

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#Weft and warp how to#

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