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I've been reading a series of books that I haven't been able to set down. So to minimize the interruption (and still take a picture for the day) took a picture of the blanket I have draped over my sofa, then went straight back to reading.
Visits to a textile museum and the workshop of the Quito School woodworkers in San Antonio de Ibarra, Ecuador.
Experimental Printed Textiles in Fashion - WLCI Fashion School
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I've always loved textiles and clothing design. When I was 11, I designed these 1968 dresses and my Mom, knowing I needed a joint/safe project sewed them all meticulously for me. Since then a younger cousin wore them as hand-me-downs and loved them too. She even thought the next generation of her grand-nieces probably wore them and wore them out. So to our surprise she recently found them in her Mother's (my aunt's) closet and returned them all to me :>)) This eases the pain of turning 60 today (somewhat)!!
My exhibit for Art in the Garden 2012, it is a stitched textile, mixed media collage. The exhibition is at the Triton Gallery at Sledmere and runs until 27th April.
My picture is now sold.
Tullie Textiles group meets on the second Sunday of the month at Tullie House Museum and Art Gallery between 2-4 pm. Each month we see a different object from the collections and I demonstrate a different textile skill or technique. The group is free to attend. June: Beaded Buttons
We also had a selection of work from a participatory project run by artist Carol Parker called 'From Lincolnshire and Back.'
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.
In this four-day workshop, youth used special thread and miniature computers to create electronic fabrics such as a bracelet, bookmark and other items. Youth learned a code for stacking cups that they wrote instructions for other youth to carry out the steps in the code. Instructor: Nebraska 4-H staff
Maya backstrap loom textile designs on huipils (see below) which, although modern (1970s), evoke similar designs on women's garments carved on Late Classic stone monuments and plaster panels during the Late Classic 1200 years ago. The simplest triangle designs, like several shown in this batch, could easily be popular traditional designs copied and learned by rote by Maya weavers that originated at the height of Maya Late Classic culture 600-700 AD. Chip Morris even discovered a maya date coded in the design of a 100 year old huipil from Chamula, Chiapas.
General information: Maya huipils are traditional, hand-woven tunics that encode a complex, visual language reflecting the weaver’s identity, community, and cosmology. They function as wearable history, using specific colors, geometric patterns, and motifs to signify regional origin, marital status, social standing, and deep, ancestral connections to nature.
Key Information Coded in Maya Huipils
Regional and Community Identity: Distinctive color palettes, weaving patterns, and specific collar shapes (round or square) identify which community the wearer belongs to.
Cosmological and Spiritual Beliefs:
Diamonds/Squares: Often represent the universe, the four cardinal points, or the earth.
Zig-zags: Symbolize mountains, volcanoes, or the feathered serpent.
Colors: Red often represents the East, blood, and the sun; white represents the North and spirituality; black represents the West and death; blue symbolizes water and the sky.
Nature and Agricultural Motifs: Plants like corn, seeds, and animals such as the quetzal, jaguars, hummingbirds, and butterflies are frequently woven, representing the agricultural, natural world.
Mythology and History: Designs can depict ancestral stories and traditional myths, acting as a non-verbal communication of cultural heritage.
Personal Narrative: The complexity of the embroidery or weaving may indicate the skill of the artisan, with complex designs often known only to master weavers.
These garments, often made using a backstrap loom, are regarded as living, symbolic representations of the wearer’s soul and connection to the Earth.