More Saori Weaving

first market tableThe cool days of winter reflected in weaving… Here are a few photos of some of the things that have come off the loom in the last few months.  I had my first table at the Easter weekend farmers’ market- it was pretty fun to see all the colours out in the spring air and to connect with other islanders’ in sharing creations.  It was the first time I have really had a collection out in the public eye, and I was quite excited by all the supportive responses!

Here are a few scarves… lots of play with bright tones, mixing them randomly or with a preconceived design.  A few fibers in these include alpaca, merino, silk, and bamboo.  I love the saori philosophy that allows mistakes to be elements of design.  Eliminating the negative idea of a mistake opens the possibilities for unplanned creation.

I have also been experimenting with small vests, made in two ways- either cut in half and sewn up the back and sides, or a single length folded in a V in the back and sewn to the front under the arms.  The second way makes for a slightly more fitting cropped kind of vest, as seen in the yellow/blue vest.  The unfolded length of it can be seen in the photo above- I did some planning to make the yellow portion of the vest fall around the shoulders and the blue portion lie at the bottom, once it is folded.  The blue vest is made primarily with hand dyed merino and kid fiber from Fleece Artist in Nova Scotia.  It is cut in half and sewn up the back for a wider fit.

I often catch myself judging whether or not I like what I am doing.  As I work, the weaving gets rolled up to advance the warp strings, and my visual of the progress remains in the immediate ten inches or so.  It is not until I roll the whole thing off that I get a full look of what I have done, (unless I unroll it and peek, but that still has some visual limitations).  It is a chance to remember to work in the present, and trust that a complete picture of the creation will be revealed later… whether it is based on a preconceived idea I have attempted to follow, or a creation of random patterning, it is always a surprise to pull something off the loom and see it in it’s full form.

 

Weaving for Autumn

peach scarf buttonsA few more weaving projects have left my loom over the past few months and are ready to be worn in the cooler weather of autumn.  Scarves, of course, are easy to weave and require nothing more than to drape them over oneself.

I made one piece of wide weaving into a tunic as a birthday gift for a friend of mine.  After cutting the weaving in half, I sewed the two pieces together up the back.  I found 6 hand made clay buttons and sewed two on each side and two in the front, with loops through which they close.  The warp threads are silk/nylon, and the various weft yarns are angora, merino, wool, and recycled sari silk.  Happy Birthday Nia!

Other scarves that have begun to pile up vary in width, length, heaviness, fibre content, colour and pattern.  I get drawn to follow a simple design, attempting to create a certain pattern, and then I am inspired to follow nothing at all but my spontaneous reach for colour and texture.  Scarves are great for not having to be committed to an idea for very long, especially with my collection of very random fibres.

 

Weaving for Art In The Orchard

saori spring wrap

A saori spring wrap

This past weekend, I was very pleased to be involved in the annual Art In The Orchard here on Pender, an island where artists and orchards abound.  Twenty some artists working in diverse mediums displayed their work throughout one of North Penders oldest orchard and heritage farm house, Corbett House B&B, dating back to 1902.  Paintings, print making, pottery, sculpture, wood working, jewelry, photography, stained glass, and fibre arts were all beautifully tucked under apple trees and framed with zig zag fencing while goats and sheep grazed on the other side.

Last year I had only a small collection of woven fabric that I hung up on the clothesline.  At that time, my journey into the art of saori weaving had just begun, and my available time was limited as we had many building projects on the go at our property.  This year, I found that the pile of weaving has indeed stacked up, and shows a pathway of explored techniques as I tried out new tings and made observations about texture and fibre qualities.  I was honoured to hang up my creations among so many other amazing Pender artists.

 

Winter Weaving

saori autumn weaveThis winter, I finally got the chance to try making some warm winter wearables from a few pieces of weavings I have been producing.  Mostly I have been making scarves, but I really wanted to make a more substantial wrap or jacket.  The widest piece I can make on my Saori loom is 42cm (16.5inches), so I made a warp that was the widest possible and the longest possible from my supplies so that I would not run short.

The simplest plans for a poncho seemed to be two strips sewn side by side with an opening in the center for the neck hole.  I had lots of sturdy cotton green warp, and plenty of 100% wool in two shades of blue that came from the local second hand store.  I mixed it up with a multi-coloured merino in blues and greens and yellows, and I occasionally placed a line of light green roving for texture.  Using only these yarns, I experimented with all that can be done with three choices.  It was a new practice for me, especially with such a large piece to fill.  Usually I can’t help adding more and more variety.  Off the loom, I cut the fabric in half and sewed one half of it together down the sides.  I decided to leave the other half open, like a vest poncho.  I may add large buttons on the sides under the arms to keep it more securely closed all around, and who knows, I may decide to sew up the front, too.  I have passed it over to my mother to wear, so it is an open ended project depending on her comfort!

With the second piece, I was looking to make something more with more drape.  I picked up a single, large skein of a fine, almost lace weight merino and wool blend that had long, autumn toned colour changes.  In my buckets, I found two skeins of lace weight alpaca in two shades of green that I hoped would be enough for another wide, long warp.  Without interrupting the weft too much, I added accents and highlights whenever the bobbin and shuttle ran out and there was a slight break in the colour changes.  I had a ball of recycled silk sari yarn, two toned green alpaca, light green roving, blue roving, and some leftover bits of green and orange peace fleece wool from a knitted sweater project.  (Weaving satisfies my need to use up all the little bits of yarn from knitting.  They just can’t be used very easily otherwise!)  I was so happy with the feel and drape that I didn’t want to cut into it at all, and I wanted it to lie flat and simple as a garment  So I folded it once on an angle at the back, letting each side come down straight in the front.  I wove up another section using mostly black linen on the same warp, and added the same accents as in the rest of the piece, and used it across the back, sewing it to the sides and across the back fold of the other piece.  By adding a simple fastener at the front, it can be held together or left open.  For being so light weight, it is so warm!  Thanks to my daughter who took all the modelling photos.  A new role for both of us.

Summer Weaving

rainbow warpSummer doesn’t always seem to be the most intuitive season for weaving, but we have found that during the heat of the day and amidst all the outside energetics of exploration and adventure, weaving has provided moments of quiet and focus.  Colour choices reflect the joy of the sun and the lightness of blue skies and beaches.  Last month, Taeven was inspired to put a rainbow warp on the loom, so she helped with the math to determine the number of warp strings for each colour to get an overall width, and we used the warping frame to lay it out.   It was interesting to have the opportunity to experiment with weaving across a very specific (and bright) set of colours.  taevens rainbowTaeven chose to use mostly white, with flashes of rainbow roving tucked into the weave as she went.  Cedar decided to do the same thing but with black wool.  We made each of their weaving long enough to fold in half and stitch the sides up into a little pillow stuffed with wool.  I experimented with using other colours and patterns over the rainbow warp, which was challenging- with so much colour going on in the warp strings, the look of the simple solid colours or white was sometimes all that was needed.  Once we used up the rainbow warp, I headed straight to an all white warp!rainbow pillow

Last weekend, I had the opportunity to show a small collection of weaving in an outdoor art show called “Art In The Orchard”.  Over 30 artists from the island set up their diverse forms of art under the old apple trees of Corbett House, a  beautiful heritage house and bed and breakfast in the Corbett Valley.  From noon until five, the art show saw 250 people come through to see the art, talk to the artists, and relax in the orchard listening to music and watching the goats.  I hung my pieces over the clothes line and let the summer sun play with the colours.  Unfortunately I couldn’t stay for the day, but I was happy to provide a bit of visual interest hanging in the air for those enjoying the display of abundant creativity.

Back to the Spinning Wheel

spinningWhen I first arrived on this small island nine years ago, I was instantly aware of the thriving community of fibre artists- avid spinners, keen knitters, committed weavers, and exultant felters.  Already being the knitter that I was, I yearned to explore the fabulous world of yarn creation amidst fields of abundant sheep.  With my two year old in tow, I joined the weekly gathering of spinning ladies in the Community Hall lounge as they spun a variety of yarns and poured afternoon tea.  All of them were excited to have me stop in and try out my hand at their wheels, and soon I was bringing along my own wheel on loan from one of the ladies.  Not long after that I found a used Ashford wheel for myself.  I was eager to try processing local wool, and found that many sheep keepers do nothing with the fibre from their sheep as they are focusing on raising lamb.  At first I was happy about finding a use for this waste, but soon learned about qualities of fibre.

Alpaca fibre from Salt Spring Island

Alpaca fibre from Salt Spring Island

Most sheep breeds here do not have spinning quality wool- it is short and rough and difficult to get lined up well enough to spin yarn that could be comfortable.  Since I had already amassed a few garbage bags worth of this wool, I decided to send it to the Gulf Islands’ Spinning Mill Co-op on Salt Spring Island and have it processed into batts of wool.  I spent $175, and in return, I had enough natural wool batts to make a king size duvet, a queen size duvet, and a few pillows.  But I digress.

Aurelia's Merino colour blends spun in long colour changes

Aurelia’s Merino colour blends spun in long colour changes

Back to the spinning wheel!  Fast forward and the spinning wheel had been put into storage at my mothers house while we moved into a small trailer to build our house.  Fast forward again, and four years later we are moved in and the wheel is finally being dusted off and my bin of roving cracked open.  Since my first encounter with the local sheep’s wool, I learned to decipher the qualities needed for different processes and applications and had managed to collect quite an array of colours and textures.  I was directed to a west coast Canadian company, aureliawool.com, specializing in importing beautiful New Zealand rovings of Merino and Corriedale with luscious colour combinations to play with.  I also learned that cleaning and carding vast quantities of wool can be rather tedious and quite impossible in a trailer, so I sent many bags of local wool with higher qualities of fibre for spinning with, to the Spinning Mill to be made into roving ready for me to spin.   (Really, the spinning part, as well as the knitting or weaving, is the best part anyways.)

the beginning of a sweater

the beginning of a sweater

I have decided that my first project on the wheel, (just to give me lots and lots of reconnecting time with the treadle and the bobbin), is to spin through a huge bag of local brown roving and hopefully have enough to then knit a sweater for my husband.  I am not sure how long this process might take, but I am feeling inspired to take on something long term and very hand made.  Spending time spinning is one of the most relaxing and meditative activities for me… as I watch the soft fibre slide through my fingers and become strong yarn, the rhythm of the treadle calms my busy brain and connects me to a timeless moment of creation.  Knitting and weaving have the same balancing effect.  There is always so much more to learn of these ancient arts, and I am excited to continue the exploration of colour, style, and warmth.

The Freedom of Saori Weaving

My first creation of Saori style weaving

As a child, I used to visit my Great Aunt in Summerland with my family during the summers.  Besides having a cherry orchard and a small sandy beach on the Okanagan Lake, my Great Aunt also had a living room full of looms with walls decorated with tapestries collected from all over the world.  We would spend part of our time there in the cherry trees, fingers and lips stained from the juice, and part of our time under the willow by the lake with small looms in hands, and the rhythms of weaving in our minds.

Fast forward twenty years or so, and my father and I are traveling again to Summerland with my 2 year old daughter to bring home one of those enormous floor looms that used to sit in the living room by the lake.  My Great Aunt by then had experienced a few strokes and was now living in the small cottage on the property, with a small loom to keep her hands busy when she was able.  Her daughter wanted to see the big loom, made by her father, go to someone in the family who would actually use it.  I had been feeling drawn towards weaving since my discovery of knitting, spinning, and felting, and so my anticipation of the floor loom from my Great Aunt was deeply embracing and supported by those memories from childhood.

Space was an issue, and I have to be completely honest in saying that now, 7 years later, it is still bundled up in storage waiting to be explored.  Building an art studio into our house was integral into getting the loom into use.  However, now that the art studio and the house (first half) is done, the floor loom is still too big while part of the studio is being used as a temporary bedroom until we get the second half of the house completed.  So my father found a small folding loom with the name Saori printed on it, and passed it along with the thought that it might be a good way to get started.

A fashion show of saori woven clothing

I discovered that Saori is not only a maker of looms and weaving accessories, but is a whole philosophy of weaving.  ‘SA’ of SAORI has the same meaning as the first syllable of the word ‘SAI’ which is found in Zen vocabulary, meaning everything has its own individual dignity.  And the “ORI” means weaving. In Japan in the late 1960s, Misao Jo, then in her mid 50s, decided she wanted to weave a sash (obi) for her kimono by hand. Her husband and sons built her a hand loom, and her 84-year-old mother taught her how to weave.  Later, an obi that she had woven was rejected from a weaving shop because of a “flaw”, but she liked the flaw, and decided to weave with more irregularities that reflected her unique individual expression.  This type of weaving was embraced by friends and finally by a high end shop, which requested more of her pieces of weaving.  She moved into teaching, beginning with just 5 students, and has now spread to countless studios, schools, and organizations all dedicated to encouraging the unique creativity and accessibility of weaving to people everywhere.

The SAORI Slogans

  1. Consider the differences between machines and people.
  2. Let’s adventure beyond our imagination.
  3. Let’s look out through eyes that shine.
  4. Let’s learn from everyone in the group

Misao Jo’s teachings were based on the idea that there is no wrong, that mistakes are the essence of design, and that beauty arises out of this freedom.  Often called free-style weaving, or freedom weaving, it holds a traditionally admired element of understanding beauty with lack of intention.  
 Japanese people have traditionally admired “the beauty with lack of intentions” in nature and adopted it into art forms such as gardening, ceramics and painting. They admire the beauty of nature leaving everything as it is, finding the beauty in the wild flowers, grass or trees in Japanese-style gardens built with as little artificial taste as possible.  In ceramics, for example, Japanese artists often make a cup in an irregular shape leaving a finger print and some designs accidentally marked while it is fired.  In SAORI,  the beauty of the cloth is admired in the same way.  It is the traditional view point of Japanese people who admire the “beauty with lack of intentions” in nature and art, that has developed the unique philosophy of SAORI.
 

“Waterfall” by Terri Bibby

I took a day long class with Terri Bibby, a weaver from Salt Spring Island, and fell into it like it was breathing.  Terri is a long time weaver who discovered the Saori style not so very long ago, and has happily settled into passing on it’s philosophies.  She helped me learn how to warp my loom, and then she beautifully allowed my own sense of exploring colours and textures lead me on my own path of learning.  She has sewn many of her weavings into simple and flowing clothes, which also appeals to my sense of usefulness in my creative pursuits.  Here is her site, offering workshops and retreats….. www.saltspringweaving.com.

Now I have the shuttle of my Great Aunt Mary to pass back and forth through my loom.  I am so grateful for such an accessable way to get started.  The idea of tackling the big floor loom was definitely a slightly daunting venture, and I am glad that it will be a few years yet before we are able to set it up in the studio.  By then I think I will be ready for the challenge of more, of bigger, of new possibilities for extending the saori philosophies.  I have already implemented them into many other places of my life, and I realize that this approach is intuitive and natural.  It fits with natural building, (so long as everything works!  We must remember that mistake making is limited, and what we are making still has to function properly).  It applies to a much larger picture of ourselves, and of our place within our community, locally and globally.  I have always felt a truth in the metaphor of the weaver at the loom, of the threads of life that cross and form patterns, that we are woven and we are the weavers of the world.  We weave and learn together in search of our true, hidden selves.

Next Newer Entries

%d bloggers like this: