Bhakti Ziek

New York, New York

2011-09-16T18:11:00.002-04:00

Beginning and Ending of Trip

Just back from a week in New York City. We went there primarily for art but of course I took advantage of the fact that macarons are everywhere and did some scientific research on taste. Prices ranged from $1.95 to $3.00 per cookie, and texture and flavors varied considerably. They all looked pretty but I would not purchase any of them a second time. On the other hand, the cappuccino pictured above at the Espresso Bar on 6th Avenue near 57th Street was definitely something to repeat.

New York Moments

The weather was beautiful, the moon sublime, and the city familiar and strange at the same time. We noticed so many wonderful new buildings, and visited some classics, like the Chrysler Building above right. We made pilgrimages to some art supply stores, resisting temptation until we got to Kremer Pigments, middle left above. It wasn't just the seductive shelves of color, but the kindness of the two people working there that convinced us to make purchases. I found the current bible of natural dyes there (Dominique Cardon's Natural Dyes) and snapped it up (okay, Amazon would have been less but this place had character).

We went to museums and galleries (I will post about some later) and were amazed at the crowds viewing art. I remember turning to Mark and asking, "Do all these people really love art?" He reminded me of the high entry fees for entering the museums, so clearly they must have some commitment to be there. In the past I could always find an area of the MET that was quiet and off the beaten path--the crowds staying in the current blockbuster, the art lovers wandering into the corners--but this trip every room of the MET (and we probably entered most of them) was crowded.

The city seems much cleaner and upscale in all the neighborhoods than before. We went north, south, east and west and it was very rare to see someone asking for money. The one street dwelling that I saw had an Ikea chair like one I used to own. Of course I am older than when I last visited New York (it has been almost 11 years), but the population of the city also seemed much younger and wealthier than I remembered. I was a resident of the city at 21, so I know about "owning" the city, about posturing and attitude, but we did it on a shoestring. Even today I feel hailing a taxi is an outrageous way to spend money. The 7 Day Metro Cards that we purchased made the buses and subway extremely easy to use.

This trip was really a "grant" from two wonderful friends who went to Portugal and invited us to stay in their apartment. We missed seeing them (luckily had dinner with one of them the last night) but we were able to spend time with some other friends. David Reisman and Mark (above bottom right) studied art together at University of Kansas in the late '70s--and they are both still making art. Going to Chelsea galleries with him was lots of fun.

Egyptian Order at the MET

When I got home I noticed that Mary Early had posted an interesting article on Facebook about organizing things and it reminded me of these images I took at the MET in the Egyptian area. Aren't the stacks of linen wonderful?

Just a note to say that the exhibition I am in with Pat Adams, at BigTown Gallery, has been extended until October 23, 2011. Things are getting back to normal in Rochester, Vermont with many of the roads accessible now, but that town has been badly hurt and if anyone wants to contribute to helping this town that truly has a heart, you can make a donation. Click HERE for a link. New York Times mentions Anni Mackay, owner of BigTown Gallery, as one of the town heroes.

After the Storm

2011-09-04T01:08:00.000-04:00

Opening of Pat Adams and Bhakti Ziek exhibition at BigTown Gallery, Rochester, VT

Hard to believe that a week ago I was at the opening of my show with Pat Adams at BigTown Gallery in Rochester, VT. We knew the storm was on its way, but the evening was clear and calm and lots of people showed up to make the opening very festive. At 4pm there was an informal talk between Anni MacKay, Pat Adams, myself, and the audience and then there was the whirlwind of conversations and greetings that happens at openings. It was a really great evening, and as we left, Anni said she was heading out to pick her vegetables before the rain started.

We had 24 hours of rain, nothing seemed particularly severe, and I woke Monday morning to a clear blue sky day and fresh crisp air cleansed by the rain. We had electricity and when calls started to come in asking if we were alright, I was a bit puzzled. The news up here didn't mention Vermont, but apparently the rest of the country knew that Vermont was a mess. Then at 10am our electric and phone went out. Rumors flew about causes and length of time--I really didn't like the prediction of three weeks before it would be fixed. A small stream turned into a river and took out a substation and most of Randolph was without electricity for 2.5 days. Minor inconveniences (we got charcoal and pulled out our weber grill and I bought these 14 hour candles and found that reading by candlelight is not much fun) compared to many places in the state, and to some other people in Randolph who did have serious problems.

Rochester was one of the 13 (or more?) towns that were cut off from the world. Bridges were destroyed, the road over the mountain that we had taken the night before had become a river bed and washed away the road and some houses. Once we got power back we started looking at everything we could find online hoping to get some info on our friends at BigTown. Finally we saw a photo and could identify Anni and Dunne, so at least we knew they were okay. And yesterday we got a call saying everyone there was okay, and would it be acceptable if they extended the show until October 23rd! Seems a bit selfish to be thinking about my show in the midst of all the mud and cleanup and suffering, but I admit I was happy to hear that people will have extra time to see this show. Pat's paintings and my weavings share the space in very compatible harmony and at times seem to be talking to each other.

Macarons

So what did I do as soon as the electricity came on? I baked Macarons! I have made them before following a Martha Stewart recipe and I thought they were delicious and perfect, but what did I know? Recently I bought a new cookbook (Sugarbaby by Gesine Bullock-Prado). The cover picture of spun sugar spoke to my heart and then I realized this was the Gesine who had a pastry shop in Montpelier when we first moved here who made magnificent sweets, so of course I had to buy the book. So I followed her recipe and they were a total failure. Because I had eaten at her shop, I knew it was me, not the recipe--so I went on line and found this great video of her making macarons. And I watched it several times, maybe more than that, and then I tried again. The pink cookies shown above show that I still had problems--but they tasted great.

So then I went back to the internet (this was all pre-storm pre-opening--a good way to focus my energy at stage fright time). And I discovered the most incredible blog by a woman clearly more obsessed than me. Not So Humble Pie has 8 posts on macarons--really a thesis on these cookies. So I tried again--and you can see the perfect little feet and nice flat shell of the yellow ones (though the color seemed to bake out). These not only looked great, they tasted sublime. All these macarons were done using the Italian Meringue method. I don't have a picture of the ones I made once the electricity came on--I used one of the Not So Humble Pie recipes for French Meringue Macaron. They looked okay (but again my coloring, blue this time, baked away), and tasted fine, but they were kind of hallow inside. Another words, I haven't figured it out yet and will have to bake some more.

Linen for Kelly's Curtains

Lucky for me I was already working on a project on my Macomber loom (no electricity needed) when we lost power, so I could keep working during the days. You can see the 18 yards of linen competing with the woodpile for size above. I really am afraid to cut and sew it myself (we all have our expertise) but will do it so Kelly can have her curtains.

Digital Woven Pixel

2011-08-22T21:34:00.005-04:00

Alice Schlein and I have been so gratified by the response to our book, The Woven Pixel: Designing for Jacquard and Dobby Looms Using Photoshop. We have had two successful editions sell out and have decided to go with 21st century technology and instead of printing more books we will offer a digital version of the book.

This will be a win-win situation for all of us--especially our overseas readers who have to endure such high shipping costs from the U.S. The cost of the digital book will now be $125, payable by check in U.S. Dollars or by PayPal. There will be no shipping or handling fees. Buyers will have the right to print one copy of the book for their own purposes, and agree that the CD contents will be for their own use. Once payment is made, we will transfer the book and CD contents via a free on-line exchange. Details will be sent to purchasers upon receipt of payment.

We have tried this method successfully for a few weeks and all our readers are satisfied. This will be the same edition as the 2006 book, which was written for Photoshop CS2. Although some items have moved to different locations in the newest version of Photoshop (CS5), we have not had any trouble using our Woven Pixel methods with this version. Although, we can not guarantee what the developers of Photoshop will do in the future, we can say our methods work in any version of Photoshop CS up to now. To order the digital version of the book please email either Alice or Bhakti.

Emperor by Bhakti Ziek, 2011

handwoven jacquard using shaded satins

photo by Michael F. Sacca

I have a show opening this week at BigTown Gallery in Rochester, Vermont. The weaving above will be in the show. It goes with the weaving I posted a couple of weeks ago. Here is the information about the show or go to the gallery site for more images and more information:

PAT ADAMS & BHAKTI ZIEK

GEOMANCER

August 24 - September 25, 2011

OPENING RECEPTION

SATURDAY, AUGUST 27, 2011

Reception 5 - 7pm

Artist Discussion 4pm

Tutorial on TC1

2011-08-17T23:03:00.003-04:00

Karin Muller La Belle from Luzern, Switzerland working on Bhakti Ziek's TC-1 Loom

It's been a long time since I said yes to a private student but Karin Muller La Belle asked to work with me at a time that fit perfectly with my schedule. I knew I would be finishing work for my upcoming show at BigTown Gallery--finishing meaning sewing, not weaving--and my loom would be available for her to use. Karin is the Studio Director/Manager at the Hochschule Luzern and overseas the weaving, knitting and embroidery studios. I have been extremely lucky with the people who have come to study with me--and I couldn't have asked for a more lovely student than Karin. She had some clear parameters for what she needed to learn and she worked diligently to accomplish everything. One of the things she needed to see was how to reconfigure the loom for different setts. When she arrived the loom was set up with two modules by two modules (30 epi). She wove a sample of shaded satins on the remaining warp (you can see front and back in the picture above), and then with the help of my husband Mark, we reconfigured the loom the next morning in about an hour. Now the modules are one behind another. Then together we wound back a new silk warp (60 epi) and threaded together. By evening she had half of the warp through dents, and the next morning she was weaving double cloth. I love this loom. And I think by the end of the week Karin loved it too. She wove 5.5 yards on the silk warp, leaving me about half a yard to go before I reconfigure the loom back to two by two. You can a detail of the beautiful scarf she wove at the end. I have a TC-1 loom, but anyone interested in the loom today will be getting a TC-2, which sounds like it is about ready to launch.

I had a funny experience the other day. I was doing a google search on Henry's Attic 16/2 linen and was surprised to see a link to one of my blog posts--so I checked it out. It was December 25, 2009 and I had posted an image of the curtains I had just made as well as a link to a Gateau Basque that I made after listening to an NPR program. I had forgotten about that cake--but since we had an invite to dinner that night I found the recipe and made it again. It was delicious!

Art Trip

2011-08-06T23:03:00.003-04:00

Empress by Bhakti Ziek, 2011

handwoven jacquard using shaded satins

I am finishing the work for the upcoming exhibition I am having at BigTown Gallery. I will be exhibiting with Pat Adams, a wonderful painter. For this show I am mounting my work on stretched linen so the linen shows as a border, the way ethnographic textiles are often mounted. The exhibition runs from August 24th to September 25th, with an artists' reception on August 27th.

Mark and I had an art trip last week. We met my cousins at Mass Moca and also went to the Clark with them. Carol is a painter so we were all serious viewers. The Nari Ward exhibition at Mass Moca was worth the trip. He has made a spectacular sculpture from the floor boards that were used in the previous Anselm Kiefer exhibition. There was a boat in the room, and this huge basket form based on a fishing trap. In the next room he had wooden stalls with images from textile sample books. And beyond that he had a room of foam snowmen encrusted with debris both natural and man-made.

Nu Colossus by Nari Ward at Mass Moca

Stall by Nari Ward at Mass Moca

Mango Tourists by Nari Ward at Mass Moca

Of course a visit to the Sol LeWitt murals is always a treat for me. There are some that I stand in wonder in front of, and others that I shake my head and run past, but all together, they are always powerful and exciting to see.

Details of Sol LeWitt Murals at Mass Moca

This trip we bought the ticket that gave us access to both The Clark and Mass Moca. We all wanted to see the El Anatsui sculptures that were on display in the Tadao Ando Stone Hill Center up the hill from the main musuem. Everything looks good in that space. We also saw the Pissarro exhibition but by that time I think I had seen enough. It was a long day, beautiful drive, great to be with family, and wonderful to see contemporary art--everything fed us.

Sculptures by El Anatsui at The Clark

NEWS 2011

2011-07-20T23:24:00.005-04:00

I want to share some images from NEWS 2011 (New England Weavers Seminars) with you before my next activity (Michele Wipplinger's Color Institute) fills my head. NEWS takes place every other year and is held at Smith College in Northampton, MA. There were exhibitions (a juried gallery show which I co-juried with Laurie Carlson and Carol Birtwistle; a faculty show; the static fashion show; a special exhibition of ethnographic textiles; and guild table exhibits); half-day, full-day, and multi-day workshops (I taught both a half-day and a full-day workshop on Photoshop and woven design using techniques described in The Woven Pixel); Vendors Booths selling items (yarns, Guatemalan products, tools, dyes and books) and publicizing places (The American Textile History Museum); and there was the fashion show one evening and a lecture by Laurie Carlson on the last evening. Of course there was also lots of comings and goings, meeting with old friends and new friends, meals in the cafeteria or downtown, and just wandering the campus and visiting their wonderful gardens. Many of the attendees have attended many of these gatherings. It was my first, and I really enjoyed how friendly everyone was so no matter where I went I could enter into an interesting conversation. There are some amazing weavers in New England as you can see from the images below.

Top Left: Brenda Rosenbaum of Mayan Hands, a truly remarkable and compassionate woman; Top Right: a view of the Faculty Exhibition with my weaving Continuum on the table and Sara Goodman's stitched, dyed and pieced work behind it; Second Row Left: some of Sara Goodman's samples of natural dyed fabrics on a table in her workshop; Second Row Right: Jody Brown and Norma Smyda standing in the inspiring Special Exhibition that they organized of world textiles; Third Row Left: Co-First VP Programs Ruth Ward and Virginia Coolidge standing in front of the display of the American Textile History Museum which was enthusiastically manned by Linda Carpenter, a trustee of the museum; Third Row Right: a table runner by Janney Simpson of Connecticut that was entered into the table runner category of the gallery show; Bottom Row Left: an image of the gallery show; Bottom Row Right: some of the new weavers setting up their first weavings in Carol Birtwistle's class.

Top Left: Best in Show was given to Scott Norris of Pioneer Valley Guild in Massachusetts for weaving these incredible linen towels; Top Right: Jurors Choice and Peoples Choice both went to this fascinating shawl woven by Suzi Ballenger of RI (it was woven in plain weave but had variable denting that changed in the cloth creating undulating stripes that reminded me of Syrian textiles); Second Row Left: Michele Belson and Deborah Holcomb in the Lunatic Fringe Yarns booth near the beautiful natural brown cotton yarns they are selling (I thought I was going to get some linen this week but when I saw this yarn I just had to have it--it is called American Maid Yarns); Second Row Right: a detail of the Guild Booth supporting breast cancer research; Third Row Left: Dorothy Solbrig of the Nashoba Valley Guild of Massachusetts entered this colorful deflected double weave to the gallery show; Third Row Right: Carol Birthwistle showing two of the new weavers how to do something at the loom; Bottom Row Left: Diane Villano taught several workshops on polymer clay and in the one depicted students made buttons with wavy marks that reminded me of marbleizing; Bottom Row Right: another view of the Faculty Exhibition showing my weaving Mindscape on the table with Laurie Carlson's optical fiber sculpture in the background.

Top Left: Wonderful scarf by Norma Smyda of RI with undulating threads shaped by the special reed she uses (some scarfs were in the fashion show, shown here, and others were in the gallery show--it was the weaver's choice were to enter them); Top Right: Marjie Thompson of NH is a legendary weaver in these parts and you can see from this image of a table runner that she entered into the gallery show why she is so revered; Second Row Left: a lovely space-dyed scarf shown in the gallery exhibit by Carol Wooten of Cranberry Weavers of MA (Carol too is well-respected and she won prizes in both the gallery and fashion shows); Second Row Right: another scarf by Carol Wooten, this one entered in the Fashion Show and Static Exhibition; Third Row Left: Laurie Carlson Steger helping one of the students in her workshop, Carolyn Wetzel, weave fiber optics on a backstrap loom; Third Row Right: a close-up of the fabric Carolyn Wetzel was weaving which lit up when finished; Bottom Row Left: the table display by the weavers who were supporting breast cancer research; Bottom Row Right: a fantastic textile in the Special Exhibition (which I think was woven in Peru).

Woven Pixel Almost Sold Out

2011-07-20T11:26:00.003-04:00

After five years of wonderful support from our customers, both editions of The Woven Pixel are nearly sold out. Alice (co-author of The Woven Pixel) and I have three copies of the book remaining in its physical form. When these are gone, there will be no further copies printed. If you have been thinking of purchasing the book, act quickly! Plans for making the book available in digital form are in discussion, but as yet we haven't made a firm decision.

To order the physical book and accompanying CD of illustrations and pattern presets, see information on the sidebar or go to my website by clicking here.

Preparing for NEWS 2011

2011-07-10T11:52:00.003-04:00

Rain by Bhakti Ziek, 2011

I am preparing for NEWS 2011 which stands for the New England Weavers Seminar. It is being held at Smith College from July 14-17, 2011. I'm doing two workshops and also co-jurying the gallery exhibition. I'm putting some images of my new work in a powerpoint presentation--so I thought I would share them with you too.

Detail of Constellations by Bhakti Ziek, 2011

These weavings are done on a warp painted with natural dye extracts (from Earthhues). I wanted more texture in these pieces and have been using boucles and novelty yarns.

Detail of Vowels by Bhakti Ziek, 2011

Vowels is still on the loom but here is a preview.

Erratic Blogger

2011-07-04T22:04:00.007-04:00

Mark's Woodpile Summer 2011

Maybe you noticed I added something to my blog heading--"erratic blogger." I thought about sporadic blogger but decided erratic was a better description of me. This way I can blog daily if I want to, or monthly, or as it seems right now, not even monthly. I think about it...but I don't seem to get there. Mark's summer woodpile shows the seasons here. Another round has started and we are drying out the wood we will need over the winter. Last year we actually had enough wood in the basement to skip a new pile, but this year's stack seems to be generating lots of neighborhood comments. All positive--it is an impressive form.

Jessica Smith and Bhakti Ziek

This week seemed to bring Lawrence, Kansas energy into my life. I realized that I am living my Lawrence, Kansas Victorian house dream in Randolph, Vermont. A good example of not getting what you want when you want it, but if you persevere you might get it in another form down the road. I love this house, and the way I am working in it -- seriously creating new work absolutely reminds me of my days as an undergraduate in Lawrence. Something about working in such a diligent way brings so much hope and insight into my life. Jessica Smith, who teaches at Savannah College of Art and Design was one of my graduate students when I returned to Lawrence in 2000 as a teacher at the University of Kansas. She came up here to hike and I was lucky to have visits on both ends of her camping trip. I loved having her be the teacher now, and me the non-teacher. Her work is amazing and I am going to show it at the workshops I am teaching next week for the New England Weavers Seminars (NEWS). So I guess sometimes I am still a teacher, but not too often.

Mark Goodwin, Bhakti Ziek and Gail Moran

Just after Jess left to continue her travels, our friend Gail Moran showed up. We know Gail from Lawrence, Kansas also--but from those undergraduate days in the late 1970s. We remember going to a waterfall with her in 1983 in New Mexico, when we were travelling across country after 16 months in Asia, and she was living in Albuquerque. She doesn't remember that but remembers visiting us in Philadelphia when her eldest son was a baby and her 18 year old son wasn't even born. We remembered that visit but not the Philadelphia part. It was so great to catch up, and also go down memory lane. She said I was passionate about weaving back then, and I still am. In fact, I just finished a weaving today that I am really excited about. I am working towards an August two-person show that will be at BigTown Gallery. I will post about that later, sometime, sooner than later.

Randolph's Fourth of July Parade

Like the woodpile, the Fourth of July Parade is another marker of time. The parade comes right past our house so we always have front row seats. This year seemed especially nice--and though the oxen were missing, there were a few small horses, chickens, and sheep, as well as tractors, old cars, and lots of fire engines. I told Gail she was going to experience quintessential America in this parade, and I think she wasn't disappointed.

Did I ever announce that I finished a website for Mark? You can click HERE or go to this website if you want to see his work.

www.markagoodwin.com

Later this summer, or early fall, after the workshops at NEWS, after Michele Wipplinger's Color Institute Workshop which I am taking at Long Ridge Farm in a few weeks, after tutorial teaching, and after my exhibition at BigTown, then I plan to do a new website for myself. Maybe I will blog in there too--but now that I am an erratic blogger I won't feel guilty that my posting is unpredictable.

Report on Road Trip -- Part III

2011-04-27T14:07:00.004-04:00

Beautiful Washington D.C.

Washington D.C. was showing all its beauty last week, and I was thrilled to have a strong fix of urban energy. One stop was to see the work of Ford/Forlano who were exhibiting their incredible jewelry in a small show downtown. I might not wear jewelry myself, but I am always inspired by the creativity of Steve and David. We also stopped by Hemphill Fine Arts to see the current exhibition and catch up with one of the directors, Mary Early, whom I met in Vermont recently. Mary's sculptures were featured in the January/February 2011 issue of Sculpture Magazine. Next time I am in D.C. I will definitely make time to visit her studio.

I was very concerned about the potential government shut-down (not just because it proved that politicians think life is a reality TV show and the public so stupid that they can't see through their cliff-hanging-wait-to-the-last-minute shenanigans) but because I really wanted to get to the Hirshhorn Museum to see the Blinky Palermo exhibition, and of course all the Smithsonian Museums would all be closed if the government was shut down. Mark has mentioned Palermo to me for many years, and he particularly wanted me to see the work shown in the image below (which I found on the web since I wasn't allowed to photograph in the exhibition itself). When I walked into the room I thought they were paintings, but in fact they are dyed cloth impeccably sewn together so you hardly notice the seam lines. Beautiful nuanced use of color, and a very innovative way to paint back in the late '60s. Even today it would be considered innovative (in any other world except the textile world). Another contemporary artist who works with fabric but is not defining himself in terms of textiles is Sergej Jensen.

Fabric paintings by Blinky Palermo

One of the things that really delighted me about the Palermo exhibition was that they gave the work the space it needed. In one room, there were four small cubes of color attached to a corner, two on either side of the wall joint. That was it. It just thrills me to see work displayed like this. On my way home, I stopped for lunch in Philadelphia with my friends Michelle Liao, Meg Richter, and John Struble. We had a delicious beet salad in Michelle and John's loft, which is above Michelle's store, the Liao Collection. It also happens to be blocks from Chinatown. So I was impressed that I enjoyed the salad so much (so much that I made it for Mark's birthday a few days later) that I didn't kick and scream about not having dim sum with them. Maybe it was because hanging out in that loft is like going to the museum--there is nothing redundant or frivolous in the space. Every object is perfect, and they are placed so the whole is about air and light and beautiful energy. I love these three people so much that I could weep every time I think about leaving Philadelphia and our weekly dinners together. What is incredible though is that life has brought important changes to all of us, but the heart connection is still so strong and vibrant. A trip back to Philadelphia is definitely in the works.

Philadelphia Friends: Meg Richter on left, Michelle Liao in center, John Struble on right

I drove from Philadelphia to Greenwich, NY without problems--but arrived at my friends Cyndy Barbone and John Golde's home in the dark. I must have driven up and down the same stretch of road six times before I finally parked my car in someone's driveway and got out to try and find a house number. I found one four houses down from my car--and when I counted back, it turns out I had pulled into their driveway. Cyndy is an amazing weaver. She usually makes narrative panels that add up to a story about light and spirit. A visit to her studio the next morning showed some of those, as well as fabric being woven on her loom that will become a winter coat. Since Cyndy has visited us in Vermont a couple of times, I was so glad to reciprocate and see her place. It is really rather close, so I imagine we will see more of them this summer.

Cyndy Barbone with her weaving and Peanut on the left;

work in progress and sample woven and shrunk on the right

So that pretty much covers my amazing, energy-filled trip to Maryland/D.C. area. While I think about it, I want to mention a book I just finished: Seven Days in the Art World by Sarah Thornton. It is not the art world that I know. In fact, I doubt if anyone I know on a day to day basis is part of this art world--but it is a world that influences all of us, and perhaps what we aspire to (sort of). It describes a type of collected work that is beyond my sense of ambition. I keep thinking, how could I possibly return to the loom and make new work if one of my pieces sold in auction for 2.5 million dollars yesterday? I would be paralyzed with doubt. It would be out of all proportion to the sense of exploration that I need when I go in the studio. In order to work, I have to allow myself to fail, but if I had those kinds of expectations surrounding my work, I would certainly fail because I couldn't start. That said, I am excited that one of my most ambitious weavings is going to be on exhibit in Barre, Vermont at Studio Arts Place. I am not sure where it was seen, but someone who saw the piece on line (I think) suggested to the director that this work would fit the theme Refuge. I liked the idea, not just because the weaving forms an enclosure, but because it also has references to the Buddhist Wheel of Life and has an image of the sleeping buddha on one of the panels. Buddhists often "take refuge in the Budhha, the Dharma, and the Sangha." My weaving, Wheel of Life: The Passing on of Knowledge will be on view from April 26th to June 4th.

Exterior Views of Wheel of Life: The Passing on of Knowledge by Bhakti Ziek

Report on Road Trip--Part II

2011-04-23T20:21:00.004-04:00

D.C.Metro

Friday afternoon, after the study group left, Chris Spangler and I went into D.C. to the Textile Museum. They were just mounting their exhibition Green, so we couldn't see everything, but we did manage to get glimpses. One work in the exhibition is a Safavid embroidery dated 16th/17th century that I feel is an old friend. I first saw it in a show that originated at that museum called Woven from the Soul, Spun from the Heart, curated by Carol Biers. I used to give a slide lecture on Safavid textiles, and always included this delightful narrative about Yusuf and Zulaykha. Another piece we enjoyed seeing was a woven leaf by Emily DuBois. I like that the show is a mix of contemporary and historical textiles.

The next morning I gave a talk on my work to The Potomac Fiber Arts Guild. With the names of people I had met the day before fresh in my mind, my sister Robin in the audience, and several people that I have met before also in the audience, I immediately felt rapport with this group. They were very receptive to my stories, and afterwards, honestly, I felt high with excitement and appreciation. One of the people who came up afterwards to introduce themselves was Claudia Segal, shown below with me. Claudia is one of the co-founders of Weavolution, an online gathering place and forum for textiles. My co-author of The Woven Pixel, Alice Schlein, did an online class for them recently. It looks like it will become an important resource for our field, and maybe in the future Claudia and I will figure out something interesting for me to offer on their site.

Don't you think the picture below is interesting? It looks like I have a halo--only it is rectangular instead of circular. Now what does that mean?

Bhakti Ziek (left) and Claudia Segal (right) of Weavolution

I taught two classes for the Potomac Guild. Saturday was an afternoon workshop on using Photoshop for fiber design. Instead of focusing on weaving, I introduced some skills that could be used by anyone in terms of imagery and various fiber processes. We covered making repeats, and modifying colors, and some basic tools and filters. Even though there were many different programs in use (various versions of Photoshop and Photoshop Elements, as well as Mac versus PC) we mostly managed to stay on the same page.

Dinner with Chris and Ann Sanderoff-Walker was not only wonderful because it was authentic Indian food (and I had the most delicious masala dosa), but because Ann and I had spent days together in Santa Fe in 2006 in a workshop that I taught that was the model for the workshop that I was giving for the next two days. Ann has many skills (sewer, weaver, quilter) and this trip I was happy to see her work in several places.

I didn't get any photographs of the Photoshop workshop, but I did take a few during the two day workshop on design for fibers. There were 21 people in the workshop, and they were all bright spirited, confident and engaged--so it was easy to learn and remember their names. We did a number of exercises, though I felt they were already had strong bases to their work and probably the workshop was more about community and the fun of working side by side than any profound insights into making work. We did spend a significant part of the workshop looking and discussing work by each participant. Again, I was struck by the ability of these women to talk about the work in ways that were helpful to each other, focusing on questions that were asked, and giving serious consideration to their answers. To me, this is what a gathering should be about. It is why I still feel so close to my graduate school colleagues. I do hope some of the people in this group will continue to gather for kind, serious discussions of work, that encourage and help each other to grow as expressive artists.

Workshop participants from the Potomac Fiber Arts Guild.

In the center is a compilation of two exercises done in the workshop.

At the end of the day, my sister Robin Ziek, who happens to work in Rockville (check out the Catalog of Historic Buildings she created for the City of Rockville), where the workshop took place, met me and took me to her house. She has the ideal urban farm. Five acres with sheep and chickens and just at the end of the road is bumper to bumper traffic heading here and there. It was great to have a few days with my sister and her family. I will complete this travelog soon.

Robin Ziek with her dog Cody

Robin's sheep

Report on Road Trip--Part I

2011-04-18T20:15:00.004-04:00

Myra Serrins in her studio

Natural Dyes 1 by Bhakti Ziek on left

Woven Dyed Piece by Myra Serrins on right

My road trip to Maryland/Washington DC area was so chock full of experiences that I will have to report on it in several posts. I stopped the first night with my friends Myra and Marty--just in time to go to Myra's yoga class. She is the teacher--and a really good one too. I didn't like yoga when I did it in the 70s, and I didn't like it recently when I tried a class here, but I actually enjoyed working with Myra. It definitely felt like the perfect antidote to hours of sitting in the car. I was pleased to see a couple of my weavings hanging in their house. Natural Dyes 1 is shown above, left. I wove it in New Mexico, and the warp was ikat dyed using natural dyes. Myra is a serious committed artist (my favorite type) who works in several medium, including weaving. I love the depth of black in her weaving on the right. If you click on the image it will open in a separate window and you can see the details of it better.

Blossoms Two Ways

I left piles of snow and no traffic, but the snow was gone by lower Vermont. By the time I reached Webs in north central Massachusetts my hands hurt from gripping the steering wheel with tension. I tried to remember Mark's suggestion--just stay in your lane and you will be okay. You would never know from my fear of traffic that I am a New Yorker. The first day was the worst--then I calmed down. (And I did manage to make it home safely, so I guess everything in terms of driving went well.) The trees had fresh small leaves in Massachusetts, there was green grass in upper New Jersey, and flowering trees in Maryland. I had to go and meet Spring, since she hasn't shown up here yet.

Since I mentioned Webs, I might as well tell you that I was so disappointed with the yarn that is available for weavers these days. I needed some black novelty yarn, a boucle or something like that, and they had one shelf with some variegated yarn on cones, and nothing else. I ended up buying a few balls of expensive knitting yarn to try it, but....I really miss Irene and Cooper Kenworthy in Providence.

Tied-Weave Study Group on left

Chris Spangler, Lanna Ray and Caroline Harlow on the right

Chris Spangler and her husband were my next hosts. A group of fantastic weavers were meeting at her house on Friday for their Tied-Weave Study Group. I don't think that is the actual name, but this year they are studying Tied-Weaves. Bonnie Inouye (second from left on sofa) was the moderator. I can name all of the people (Joyce Keister, Bonnie Inouye, Mary Pflueger, and Janet Stollnitz are on the sofa, left to right; Lanna Ray, Fern Grapin, Anna Byrd Mays, Chris Spangler, Caroline Harlow, and Larry Novak are standing, left to right) and I am sure if you are a weaver you know many of them too. If you click HERE you will go to the Potomac Fiber Arts Gallery Members' Page, and you can see work by Joyce, Janet and Larry and many of the other people who took my workshops this week.

Everyone brought food (you know how I love pot lucks) and I was entranced by Lanna's asparagus tart. It was a Martha Stewart recipe so of course it was beautiful. She shared the recipe and I am going to make it tomorrow for Mark's birthday.

Chris Spanger at her TC-1

Weaving by Chris Spangler with detail at the bottom

Chris has a TC-1 loom like mine, except she has six modules so she can weave at 45 epi at full loom width (28"). When she upgraded from four to six modules, she also purchased the new vacuum pump which has the capacity of running eight modules. She has both the vacuum and the air compressor in her garage, so weaving is much quieter than my set up. When I arrived, we photographed her recent weaving (shown above on the right, with a detail at the bottom) so I had the image on my camera to share with you. It is really beautiful. I don't have the exact measurements but I think it is about 7 feet high. The detail shows you how she pixelated the image so close up it is very abstract but from a distance it focuses into a landscape. She wove double weave with four wefts and has enormous color variation and nuance in the work. Chris has a new blog, and you can go to it by clicking HERE.

I have been very lucky in my ownership of a TC-1 loom, and now I am even luckier, because Chris had her former vacuum pump in the hallway and wanted to get rid of it. She offered it outright, but I felt an exchange was necessary--so she now owns one of my small weavings and I now own two vacuum pumps. That means I am one giant step closer to being able to upgrade my loom to more modules. If you want to learn more about the history of the TC-1, click HERE to go to a recent entry on the TC-2 Blog.

So I had a very auspicious beginning of my trip and when I went to give my lecture and teach the first workshop the next day for The Potomac Fiber Arts Guild, I already knew the names of 8 participants.

Stripes

2011-04-03T12:03:00.004-04:00

Kitchen Stripes

Bowl in Upper left and Platter in Lower Right by Susie Rubenstein

I will do anything to procrastinate workshop preparation--hence this new blog post. Actually, I have been very busy preparing. I have this wonderful lecture on stripes that I used to do with slides and a slide projector--but my projector is long gone to the dump and my slides are buried somewhere in a closet--so I decided to create a new lecture with digital images of stripes. The most fun was walking around my house taking images. With stripes in mind, I found all sorts of examples that I wouldn't normally associate with that word. I love the bowls and platters that I own that were made by Susie Rubenstein. She runs the ceramics program at Mt. San Antonio College in Walnut, California, and has some current work in an exhibition there that runs through April 14th.

Kilim Stripes

Obviously my lecture is full of images of stripes in traditional textiles. I had such an abundance to choose from in my collection that it became frustrating. Too much had to be left out. But then, I have to leave something for the participants to discover on their own. The image above came from the book Kilims: Masterpieces from Turkey by Yanni Petsopoulos with commentary by Belkis Balpinar (NY: Rizzoli, 1991).

Loom Parts Stripes

It was fun to go up to my studio and find stripes on my looms. They are an integral part of the process of weaving. Below you can see the most current work, in progress, on my TC-1 loom. Vibeke Vestby has started a blog about the ongoing development of the TC-2. It is interesting, technical, and exciting. As one would expect from Vibeke and Digital Weaving Norway, it is very innovative and will take the potential of jacquard weaving to another level.

On Loom Now Stripes

Work in progress by Bhakti Ziek

And of course I have to show you my latest baked goods--strawberry shortcake with bananas and apricot preserve filling. Photographed on stripes of course.

Stawberry Shortcake on Tablecloth Stripes

Who are the lucky people who are going to hear my talk? Members of the Potomac Fiber Arts Guild in Maryland. I am giving a talk on my work to the guild on Saturday, April 9th. It starts at 10am and I believe it is open to the public. Then that afternoon I give a min-workshop on Photoshop for Fibers and then will do a two day workshop on design and creativity, with a focus on fibers. That is where the stripe lecture comes in.

Food

2011-03-28T15:28:00.004-04:00

Mexican Wedding Cookies

photo by Holly Jennings

A mutual friend recently introduced Holly Jennings to me. We both went to Cranbrook Academy of Art for graduate school, different years, different majors (fiber for me, photography for her), but two years in that environment is sort of like a secret handshake. It seems almost improbable that we would both be in Randolph, Vermont and have gone to Cranbrook, but other grads keep popping up and right now I think I know 9 people in this close vicinity who have gone there. The alumni association said there are actually about 60 grads in this area, meaning Vermont and New Hampshire and lower Quebec. I thought about hosting a party (they won't give out names but they would send emails to everyone for me) but then thought better of it. I still might invite the nine I know to a pot luck, if spring ever arrives and I feel more social.

Holly and I also share a passion for food, though I do believe she is more focused than I am. She has put together a wonderful blog, The Dowdy Corners Cookbook Club, which I try to read every few days. It actually is a group of people that read cookbooks, make food from the books, and gather for a meal based on the current selection. I almost joined, but since I have a bad track record for joining and quiting, I decided to save myself the hassle and just not join. Instead I am lurking. The current selection is Diana Kennedy's The Art of Mexican Cooking. I missed out on purchasing the book when the club members' got theirs, but thought I picked up a copy when I went to Burlington. Wrong. I got The Essential Cuisines of Mexico, which is a compilation of three older books she has written. Holly had a stack of different books by Kennedy at her house the other day, and surprisingly they really do have different recipes in them. I have made the cheese chile rellenos from my cookbook twice now--and they are incredibly good. Since I lived in Guatemala and Mexico for five years in the early '70s, I never had a cookbook before, thinking I knew how to make beans and rice and rellenos. But following her recipe has convinced me that there is much to learn, and it is worth the effort to follow her instructions.

Holly made me a lunch using a delicious shrimp recipe from her book, and I brought Mexican Wedding Cookies for dessert. I actually didn't use the recipe which is in The Essential Cuisines book because it called for lard. Instead, I went to my trusty Martha Stewart's Handbook of Baking and followed her recipe. That book never fails--even though my oven has been misbehaving--and only the broiler coil got hot. For about two weeks now I have been baking by heating the oven to where I need it to go using broil, then turning it off, putting in the cake/cookies/whatever, and letting them cook--taking them out and reheating with broil sometimes, and returning them to the oven. Not a great way to cook, but it worked with the cookies shown above.

Lucky for me my neighbor is a genius and this morning he has fixed my oven. And if it doesn't last, he has already procured a backup plan. So I feel secure. Without my oven I feel very insecure.

By the way, Dowdy Corners Cookbook Club is open to anyone to join. There is a great post on queso fresco that includes a recipe that was posted on March 24th. I think when groups start gathering in different areas of the country, and report their findings on the blog, it is going to gain a big following. I might even join. And you?

Crackle Weave

2011-03-17T21:22:00.004-04:00

Crackle yardage by Bhakti Ziek

I finished weaving the crackle studies yesterday. I used up yarn on bobbins, almost randomly taking them from my baskets, though in the end, the cloth looked very harmonious. Not sure if I will cut it apart for dish towels, let my husband have it to paint on, or just fold it up and put it away. There is enough yardage for all three possibilities.

The pictures show the cloth just off the loom, but now it has been washed and is drying. If it looks significantly different, I will post a picture. I was trying to get a handle on differences in the cloth by using different weights yarn for both the ground tabby and pattern, sometimes using a very fine tabby weft and sometimes just slightly thinner than the pattern weft. Obviously there are differences, but it all looks okay to me. There is something oddly pleasing about just making traditional cloth. The editors of the book must have liked crackle too, since they used it as the background weave on the cover.

I am going to try and figure out how to use crackle for a jacquard weaving. Am feeling almost ready to start again.

Crackle Studies based on this book

Studies 493 to 495 (top to bottom)

Crackle Studies 496 to 498

Crackle Studies 499 to 501 plus one by Bhakti Ziek

End--Begin

2011-02-26T12:47:00.004-05:00

Sandra Brownlee visiting from Halifax, Nova Scotia in front of Continuum by Bhakti Ziek

Sandra Brownlee, weaver extraordinaire and one of the most creative people I know, came down from Halifax, Nova Scotia to help celebrate the last day of my show. It is always stimulating to talk to Sandra, and she walked through the exhibition giving me applause and encouragement. Since endings are beginnings, this was a perfect time for her visit. (You can purchase Sandra's book, Departures and Returns, directly from her. Just click on her name above and go to the contact page for information.)

The next day I lingered taking one last look at my work (see image below) before packing them up. Working towards a specific space was very helpful for me, giving me a parameter in terms of scale that I don't usually have. Knowing the distance between the windows for example, helped me determine the group of small rectangles. I could have gone with long vertical pieces, but didn't. I am thinking that is my next direction. So out of one project, which definitely came to a conclusion, is a spark that will ignite the coming work. Endings can be hard, but when I remember that an ending is also a beginning, and that life is a continuum, then I find a good perspective.

Last look before work comes down

I am not sure if I heard this directly from Ed Rossbach at a lecture or if I read it in a catalog--but I remember the story. Although Rossbach's work was much sought after by the time of the telling, he was referring to earlier in his career when he would send work off to shows and it would all come back after the show, and he would put it in his closet. He said one day he had a realization that would save him on expense and hassles. He realized he didn't have to send the work off, he could just make it, and then put it directly in the closet!

Definitely a man after my own heart. It took me almost a week to finish the task of getting the new work into my closet. After packing it in the gallery, I had to bring it home and repack with acid-free paper, then carry them to the third floor, remove everything from the closet so I could reorganize and repack the closet, making a chart of where things were stored as I went along. By the end I stopped writing on the chart, but I think I can find everything if necessary.

Closet for storing my work

Winter seems really long by this time of year, especially for someone like me who has never been a fan of the cold. I find refuge in the kitchen, and have had some real successes recently. I fell in love with these cooking pans at King Arthur Bakery. Online they call it a hamburger bun pan, in the store they called it an english muffin pan, but I immediately thought, little cakes. I tried to stack three layers--you can see one in the image below--but the layers were too thick for that and the rest became small two layer cakes. Next time I might try very thin layers and see how many I can stack together. And the chicken pot pies, made in individual oven proof bowls, were spectacular. I was remembering the chicken pot pies from the Horn and Hardart Automat in New York City (you would put in change and the little door in front of the item would open and you would take it out--total delight for a child and probably for the adults too.) I tried to find a recipe online and was surprised that I couldn't find one, though there is a book out that might have it. I will have to check, but the link for the book does show the bank of small food windows, if you want to see.

Recent baking triumphs

Out and About

2011-02-16T10:55:00.005-05:00

Tuvan Throat Singers Performing at Chandler

Five weeks after the opening of my show at Chandler (one week left to see it), I find I am checking off some things on my to-do list (fun things like doing my part of the taxes), and getting out in the world again (as much as icy roads permit). So last week Mark and I joined an almost full house to hear The Tuvan Throat Singers perform at Chandler. Sitting up in the balcony, we had front row seats of the stage, and squirming masses of school children seated below. I had never heard of Tuva, but their singing relates to sounds I have heard from Tibetan monks in Nepal and India. They make a sound that resonates through the space and literally shakes you to the core.

Addison Gallery, top left

American History Museum, rest of images

Last Thursday we actually took a road trip, to the Andover/Lowell area of Massachusetts. The Addison Gallery of the Phillips Academy is showing Sheila Hicks: 50 Years, on view through February 27th. And the American Textile History Museum is showing the American Tapestry Biennial 8, which is up through May 1. The last time Mark and I visited that museum it was located in Andover, so that is many years ago. It has gone through changes, but still has some wonderful examples of 19th century textile history on display. The sample book and indigo chunks, and the way the carding machine was painted and distressed were my favorites.

Hicks is one of the grandmothers of the fiber art movement (Zeisler, Tawney and Hicks) and I have known their works since the late '60s. I wouldn't say I am directly in any of their lineages, but anyone doing textile-related work today owes them a debt. Though Hicks' installations in the show seem a bit tired, I kept thinking that young installation artists today, if they knew her work, would be so excited by it. She really was exploring material studies before anyone was using that term. Taking the simplest element, the thread, she makes massive work dealing with compression and release, the individual and community, ground to heaven. The bulk of the exhibition are small studies which she has done since the late fifties. An image of her thesis show at Yale, showing paintings and woven work really exemplifies her spirit of adventure; her understanding that an artist has no boundaries if the exploration is authentic.

Of course I loved the fact that I knew many of the artists showing in the Tapestry Biennial. I wasn't allowed to take pictures, but there is a good catalog that is available through the American Tapestry Alliance, and Janet Austin has pasted good images of the show on her facebook page. I always enjoy Jennifer Sargent's work, and her piece in the show was really wonderful. The open work and delicate yarns give her work a distinct presence. I have seen glossy reproductions of Michael Rohde's work that always are attractive--but they don't give a sense of the scale of his work, or the beautiful soft shading of colors that make up the whole, giving every part of the work its own nuance of character. I recently met Suzanne Pretty, who came with her husband to my talk at Chandler two weeks ago, and was pleased to see her prize winning tapestry at the entrance of the show. It is quite an honor to win first prize among so many excellent weavings.

Beth Couglan, from Chicago, visiting my exhibition

Another week, another visitor. I have just loved the stream of friends who have made it to Randolph to see my new series, Continuum. Beth is a world traveller and could have her own version of Nomad. She is also a wonderful weaver, so it was wonderful to see her enjoyment of my work. We also made an outing to King Arthur Flour to check out their new line of gluten-free products. It was a crowded morning and everyone was friendly, offering each other advice, clearly a group of foodies. I bought some white bowls to make individual pot pies--and we have been eating turkey pot pie all week.

Warp Painted with Earthues Natural Dye Extracts

I let my warp, painted with Earthues natural dye extracts, air dry for about two weeks and then steamed it. Here is the warp pre-steamed. I will show it to you again in a few weeks--after I let it air dry again and wash it. Eventually it will get on my TC-1 loom. As I check off some neglected projects I can see myself getting closer to the loom again, and the excitement is mounting.

Catching Up

2011-02-06T16:13:00.004-05:00

Friends Visiting Exhibition

It has been wonderful to have friends from out of town visit and give me feedback on my continuum series. Since the opening (see previous post), Cyndy Barbone (top), Myra Serrins (second from top), Deborah Carlson (third from top), and Marcie Miller-Gross (shown here with Elizabeth Billings in bottom image) came to Randolph. I couldn't photograph Marcie in the show, since I was taking a workshop when she and Liz went to see it, but the phone call afterwards was sweet to my ears. All these friends are weavers (though Marcie's work has moved into another mysterious and intriguing place) and were able to give me good critical feedback to consider for future work. The show is still up until February 20th, and two more weekends will bring two more friends, so life is sweet. I did a talk on my work last weekend and Myra snapped an image of me in front of Chandler.

Bhakti standing in front of Chandler Center for the Arts with her name in lights

Canvas woven for Mark Goodwin

I haven't been focused enough to start new work on the TC-1, but have been weaving. I finished yardage of plain weave cotton/linen canvas for Mark to use in his work. The focus in our house has shifted from my preparation for an exhibition to his preparing for a one-person show at BigTown Gallery that will open on May 4th.

Sara Goodman's Dye Workshop

I also took a dye workshop with Sara Goodman in her studio in Lyme, NH. Just five of us, snow outside, warm inside, painting warps with Earthues Natural Dye Extracts. I used to think I invented painted warps (back in the late 1970s), which just shows how ignorant I was about the history of textiles, and I have written articles on the topic and taught many workshops on painted warps. I have even used the dye extracts on my own to paint a warp or two, but I didn't have a handle on the colors, the way I did with procion MX dyes. So it was wonderful for me to learn something new about something familiar, and to jump start a process that I hope to introduce into my next series of jacquard weavings. Sara also had an indigo pot going (notice how she uses all the proper gear for working with those chemicals), and at the end I was able to dip the end of my warp into both indigo and cochineal pots, ending the warp with red, purple and blue. I still have to steam it and wash it, but you can see my colorful warp wrapped in plastic above. Myra Serrins was in the class too (shown above left with Sara), and Carol and Amy (bottom left) and Toby (not shown) were also there. Sara will be teaching a dye workshop at New England Weavers Seminar 2011 (NEWS) so if you are interested, sign up. I will also be teaching there--photoshop for textile design.

Weaving crackle diamonds

Now I am trying to weave off the warp on one of my small macomber looms. I used a threading from the 8-shaft book by Carol Strickler, and am weaving off all the bits of color that are filling my bobbins. Maybe I will have some new dishtowels in the end. For sure I will have a box of empty bobbins so I can start fresh with my next work.

Lots of links in this post. I intended to try and post weekly in 2011, but have not been able to do so. I appreciate that people are still reading my blog and sending me personal emails with comments. Hope you are having as beautiful and snowy a winter as we are having in Vermont. I really loved the mental image of this country blanketed in snow from coast to coast, though I realize many places were not equipped to handle it the way they do here. Stay warm.

New Series: continuum

2011-01-11T15:38:00.004-05:00

Opening at Chandler Gallery on January 8, 2011

Happy New Year everyone! Mine started great--finished my six panel weaving Nomad and had an opening attended by many people, despite the first real snow storm of the year. You can see my friends Tabbetha McCale (left) and Eliin Noble (right) facing each other at the opening. The three of us travelled together in Turkey a number of years ago, and it was fun to gather again in Vermont.

If you want to see a slideshow of my new series, continuum, please click HERE or go to this site:

http://picasaweb.google.com/bhaktiziek/BhaktiZiekContinuum#

Here's a preview--the finished weaving Nomad.

Nomad by Bhakti Ziek, 2011, 60"h x 162"w

Reconfiguring the TC-1

2010-12-09T14:51:00.004-05:00

TC-1 with 4 modules, 60 epi, 14.4" in reed

I have always been weaving on my TC-1 (Thread Controller 1 Loom from Digital Weaving Norway) loom with four modules set up one behind the other, giving me a warp density (sett) of 60 ends per inch (epi) and a weaving width at the reed of 14.4 inches. Since the interlacement of warp and weft (weave structures) brings the warp in, most of my final work has averaged 13.5 inches in width. You can see the loom above from different sides. Note that the cardboard box is my own invention--cat-proofing the springs and heddles. I had it in my head that I would do a large weaving for my upcoming show (two-person exhibition at the Chandler Gallery) if I had the time, and, if so, I would reconfigure the loom to weave full-width. This would mean I would have a width of 28.8 inches at the reed, but my sett would decrease to 30 ends per inch.

When I finished my sky weavings--East and West--which I love, by the way, I started debating with myself--leave the loom alone or take a chance on reconfiguration? Everything was working so well, did I want to rock the boat? Would I have time to complete a piece? Did I have enough warp (it would have to be heavier than the 60/2 silk I was using to account for the smaller sett) for the new piece? If it was possible to worry about it, I did. But I always came back to the conviction that this was the time to change the loom and weave at a larger width. Call it fate.

My in-house saint, Mark Goodwin, reconfiguring the TC-1

Of course, my reconfiguring the TC-1 loom translates to Mark reconfiguring the TC-1 loom. You'd think it was enough that he has made all the beautiful frames for mounting my new work, but there is always something else I can think of to ask him to do. (Do you know that expression, honey-do?) We were greatly aided by a video clip of the process that Vibeke Vestby, the inventor of the TC-1, sent to us. We (I did help) had to remove the modules, put two of them together, replace them on the loom, modify the bottom slides that hold the springs, and basically we were done. It was amazingly easy and I could move on to my next fear--rethreading the loom.

Because the modules were moved, I had to completely rethread the loom. First we had to take a trip to Massachusetts to buy new yarn (I am using 20/2 silk from Webs) (now I can worry about my credit card bill), then I wound an 18 yard warp (my longest ever) and I put it on the back beam. In the past I used a quarter-inch raddle--but that left my hands when I sold my AVL dobby loom--so I used a one-inch raddle and knew the whole time I was doing it that it wasn't right. My back beam has flanges which need to be placed at exactly the width of the warp, but I had mine wider. Don't ask me why I didn't stop and get it right--I just didn't. Then I threaded the loom. There are 880 hooks on my loom, therefore 880 threads, and after a while I got a rhythm going--count out 10 heddles from the bottom spring bar, count out 10 threads, thread the heddles. Tie them off to the right. Untie ten threads from the group tied off to the left. Start again. If you read this blog regularly you already know that counting and numbers are a big part of my life, and repeating actions are basically the life of a weaver.

The threading went smoothly too--another worry hits the dust. Threading the reed was really simple--I just made a weave file that lifted two ends at a time and ran through that file putting the lifted ends into the dents of the reed. Then I pulled the whole 18 yards forward through the reed, called for Mark's help, measured and repositioned the flanges correctly, then slowly and very carefully wound back the warp under even tension. It looks great now.

TC-1 reconfigured to 30 epi, width at reed 28.8"

Note that the cat-protector had to be modified since the box was not wide enough to fit around the reconfigured springs. I think the corrugated cardboard looks much nicer.

Recently I got a copy of Weaving for Beginners by Peggy Osterkamp. I have been reading it at night, always receptive to find a new way to do something, and Peggy has plenty of smart ideas in this book. I usually lash on my warps to tension them at the front of the loom, and she suggests using a smooth slippery yarn, like a chalk and mason line nylon. A cry to Mark and immediately I had this hot pink nylon in my hands. It has replaced the cotton cord that I used to use. I am not sure it made a difference, but like the corrugated cardboard, it looks nicer.

Note the new pink cord tensioning the warp

The weaving I wove while I was debating the reconfiguration of the loom is called His Wife. I think of it as a self-portrait. It is probably the last 13.5" width weaving I will make for a long time. Now on to that big weaving.

His Wife by Bhakti Ziek, 2010

Sky Weavings

2010-11-26T15:36:00.004-05:00

Detail of "West" by Bhakti Ziek

I am weaving a pair of sky weavings: "East" and "West". Two wefts alternate, a blue tencel and a silver gimp, in structures that bring one to the front and the other to the back ((weft-backed structures). When you combine structures in one weaving, you have to be sure that one is not significantly tighter than the other, or you will have take-up problems. In theory my five structures were compatible, but in fact they weren't. I created an image file that was pixelated, and the switching between structures happened so often in some areas that the wefts could not pack down evenly. You can see what happens in the two images below: the fell line of the cloth becomes uneven and the reed cannot hit the cloth evenly.

Fell of the cloth is uneven

Reed hits one edge before the other

Thinking of what I could do to solve the problem before it became so exaggerated that I would not be able to complete the weaving, I came up with the idea of hand-picking the weft in the tight areas. I often say that I love the TC-1 loom because it allows me to use all the knowledge I have acquired over the years as a weaver. This was one of those times that I used a process that I thought I would never have to do again on a jacquard loom. The pictures below show what I did. The first image shows the blue weft going across the cloth in the normal shed. As you can see, the cloth curves up where the weave structures are tighter than the other structures.

Weft following normal shed

Not on every pick, but often, I would take the shuttle and bring the weft to the back of the cloth in the tight areas.

Blue weft going to the back in center area

This enabled the next pick of silver to pack down tighter, making the fell of the cloth more even. It seemed to work fine, and 6420 picks later, the first weaving, "West" is woven. No turkey for us on Thanksgiving, but plenty of gratitude at the loom.

Silver weft packs into space more evenly now.

Draw Like a Weaver

2010-11-14T16:41:00.005-05:00

5 Wefts Used to Create This Weaving

Do you want to know how to draw like a weaver? I'll use a recent weaving built with five wefts as an example. Take 6 crayons or pencils or inks and arrange them so you will use them in the same sequence, over and over and over. In this case, weft one (color 1) is salmon, weft/color 2 is black, weft/color 3 is dark green, weft/color 4 is white, and weft/color 5 is light green. The sixth color represents the warp--red in this case. It might help if you have a page with horizontal lines on it, or under it as a guide, or just go freehand--weavings tend to be wobbly even though they follow a grid.

How a Weaving Builds

Now make a series of horizontal dashes, on the same line, with the red color that represents where you want that color in your image. Follow this with some dashes on the same line with the black color where black should go. Put the black down and pick up the light green and draw your light green dashes on the same line. Then put that color down and pick up the white color--and draw your horizontal dashes on the same line, followed by some horizontal dashes of the dark green. Depending on your image, you might have filled in the complete horizontal row, if not, fill in the spaces with the red color, which represents the warp. Now move to the next line and continue building color by color, line by line. Some lines might not show any of one color. You get a break here drawing on paper, but as a weaver, that weft is still thrown, working at the back of the cloth rather than the front.

Most of my recent weavings are composed of series of four or five weft colors. I am averaging 140 picks per inch--sometimes more, sometimes less. If using four wefts, that means they pack down to look like 35 horizontal rows composed of four colors, plus warp color. To be fair, I don't actually draw my images line by line but use Photoshop to make compositions and insert weave structure. The book Alice Schlein and I wrote, The Woven Pixel: Designing for Jacquard and Dobby Looms Using Photoshop®, is a great resource if you want to learn how to do this. When I want to weave a design though, I do have to build it, pick by pick, and in this example that would mean five picks (wefts) create one horizontal row in the cloth. It is not unusual for my weavings to exceed 5000 picks. I am standing at the loom most of the time, though recently I obtained a stool that I can use too. 300-400 picks per hour adds up to alot of hours at the loom. What would be excruciating for some people turns out to be sanity for me.

Sea Glass formation on Bear Island

Sea Glass by Bhakti Ziek, handwoven jacquard 2010

Night Cap

Sometimes though I want things to move a bit faster. Sea Glass was woven in a new structure for me, a lampas that used a plain weave ground against a three shaft patterning twill. I dropped my wefts to three systems in the center, but created 15 structures with them. The sides of the weaving are a damask structure using just one weft. When I saw this bottle of wine at the store I had to buy it. I didn't know sea glass existed until the summer vacation in Maine, but the wine and wikipedia showed me it is a well-known phenomena.

Two New Weavings

2010-11-03T20:57:00.003-04:00

Continuum by Bhakti Ziek

The weaving shown in the last post is finished. I am calling it Continuum, which is also the name of my upcoming show that opens at Chandler Gallery on January 8th. The image above does not do justice to the actual piece. Maybe you can come to the exhibit and see what I mean.

56 Blossoms by Bhakti Ziek

56 Blossoms will also be in the exhibition. I was thinking about this weaving today as I worked at the loom, and this came to me: When you are in dispair, you have to come up for air. Also: Often the solution is found in the problem. Do you think I can sell these platitudes to a fortune cookie company?

Raspberry Coulis

2010-10-13T18:30:00.002-04:00

Current Warp

I am working on this red warp that is making me hungry! It is tapping into my obsession with Top Chef, which is doing a dessert series right now, so I have named this warp Raspberry Coulis.

Work in Progress by Bhakti Ziek

It is amazing how many colors I can get out this warp and four wefts (blue, yellow, tan, and white). This is the first time I have had tension problems on the TC1, compounded by the fact that not all the wefts are the same size, and some of the structures bring two wefts to the surface and some bring one to the surface. I think the distortion is interesting, something I might want to explore this winter to see if I can control it and do it on purpose, but I am not sure how I feel about it in this piece. Well, have to finish it before I can judge.

Bear Island and Code

2010-10-05T12:54:00.004-04:00

Bear Island by Bhakti Ziek

I wove Bear Island (above) after a week on that incredible island. It is 29.5"w x 13.5" high. Think sea rocks, letters from a gravestone and an "energy" overlay.

Code by Bhakti Ziek

This is Code finished. Images of it in process were in earlier posts. It is 40.5"w x 13.25"h. If you remember the images on the loom, it has changed color. I dyed it with inexpensive black tea. I noticed the grass outside died where I poured the tea out, so image what it is doing to my insides.

Bear Island and Code with Sculpture by Mark Goodwin

An interior shot of the office room, which is looking good with work by me and Mark, and a felt rug from Turkey on the floor. Fortunately the rug is old and frayed, because our cats are making it more frayed by the minute.

Chris Allen-Wickler sewing weaving by Bhakti Ziek

Lucky me, not only do I get a visit with Chris (above) but she is helping me finish some of the weavings. When I was weaving my thesis work at Cranbrook, she and Marcie Miller-Gross saved my life by hemming the work as it came off the loom--and we were working up to the last minute. Fun to revisit those days so many years later--on one hand it seems like no time has passed, on the other when we talk about her daughter at University of Michigan, we realize it has been many years. Chris is here between shows--she will exhibiting her fabulous garments (Allen-Wickler Artwear) at the Letchworth Craft Show near Mt. Morris, NY this weekend.

Re-Entry: Fall

2010-09-28T12:20:00.003-04:00

Night Sky by Bhakti Ziek, 2010

It has been a wonderful summer of friends, weaving, and balance. I am highly focused on work in my studio, preparing for an upcoming show in January 2011 here in Randolph, VT (hope you can make the opening, January 8th at 1pm at Chandler Art Gallery, Randolph, VT), so my blogging is going to continue to be brief, but I will try to keep you posted on the work.

Night Sky is 13.5"h x 44"w, silk warp with tencel and gold gimp wefts, woven on my TC-1 loom in a lampas construction. If you are at the TSA Symposium this week, this weaving and another one of mine are included in the exhibition Binary Fiction: Digital Weaving 2010, curated by Janice Lessman-Moss. It is on view at The Eisentrager-Howard Gallery from October 4 - October 29, 2010.

In another part of the country, Rhode Island, I will be giving a talk on my work this Friday, October 1st. It is for the Weavers Guild of Rhode Island, and will be at 11am at Slater Mill in Pawticket. It is exciting to update my powerpoint presentation, putting in the work I have been doing. Just two days ago I finished a warp, and am tying on a new red silk one now. I will try and post the new work, one at a time, for you to see.

Website Is Up

2010-06-30T23:30:00.003-04:00

Thanks to funding from The Vermont Arts Council and the National Endowment for the Arts, I was able to consult with a wonderful designer, Susan Lee, and finally get my website up and running. It is still a work in progress, so I will be adding to it over the summer, but please visit it and give me feedback. It isn't showing up on search engines yet, so you need to put the address in directly.

http://bhaktiziek.com

I should probably put a sign here saying gone fishing for the summer only instead of fishing, it is weaving....so bare with me, while I focus on my work for awhile.

State of Craft at Bennington Museum

2010-05-23T09:39:00.003-04:00

Bennington Museum, Bennington, VT

I feel very fortunate to have one of my weavings, "House," be included in the current exhibition, State of Craft, at The Bennington Museum. The subtitle is Exploring the Studio Craft Movement in Vermont 1960-2010. Although I am new to Vermont, my tenure here is encompassed in those years, and the curators of the exhibition, Anne Majusiak and Jamie Franklin, felt my weaving of our Randolph home, with words superimposed on a street map of the town, appropriate for this exhibition.

Area with weaving by Bhakti Ziek and weavings by Elizabeth Billings; Mark Goodwin and Elizabeth Billings on the right

Anne came to my open studio last Memorial Day weekend. (I leave for Chicago during this year's Open Studios and couldn't participate, but I plan to next year. It is a wonderful chance to see artist's in their working environment. Here is a link to David Hurwitz's studio in Randolph, which is on the tour--and David also has a beautiful table in the Bennington exhibition.) Anyway, Anne came at the suggestion of Liz Billings, and when we arrived (Liz, Mark and me) and discovered our work was in the same area, I think we both were thrilled. Liz must be psychic, she dressed to match the wall behind our works. As you can see the opening (this was for the artists, trustees, and other people who have supported the exhibition and museum) was very lively and crowded. I will have to go back later in the summer and have a quiet look at all the work. The exhibition is open until October 31, 2010.

Sunsets in Vermont

Driving down and back to Bennington from our area (2.5 hours each way) has left my shoulder sore, not good since I have to sew all day with that arm, but it was so worthwhile to be part of the celebration, and then to see the Vermont sunset at the end of the day--which looked pure New Mexico to me.

New Weaving, New Group, New Pots

2010-05-16T18:30:00.005-04:00

Code Weaving being woven on TC-1 loom

With all the talk about an open source loom, I hope you didn't get the wrong impression--my TC-1 is still my first love (not counting my family of course). I have been standing at it this week, weaving the code I discussed previously on my blog. I am still deeply immersed in reading about code, and working on my own website. I even dreamed code the other night. But don't think I have any fluency yet--I just think I do, but I don't. I realized that making a website using xhtml and css is very similar to the process of weaving--there is structure and there is style. xhtml is equal to the weave structure that makes up a weaving and css is equal to the yarn, color, and distribution of color in a weaving. I wonder if coders split themselves into structuralist and colorists, like some people like to divide up the weaving community?

Detail showing white weft working alone in box on left and with a supplementary weft added to the white weft on right (brocading)

My current weaving not only has code in it, it also is brocaded. I wanted to use a white weft on the white warp, and hoped the two versions of white (a warp-faced structure versus a weft-faced structure) would result in the popping of the image that is found in damask. Sometimes I let the white weft images remain that way, but sometimes I increased their visibility by adding a supplementary weft, as seen in the words in the image above, bottom right corner. When the piece is off the loom and I can see it hanging on a wall, then I will decide whether I should increase the visibility even more by embroidering the letters. Over the years I have often noticed that I will spend a lot of time on elements of a weaving that end up being invisible. Even aware of this happening as I am working, still I continue, because it seems important. In a discussion this weekend with a new group of weavers, I learned that other people also experience this sense of weaving the emperor's new clothes.

Explanation for cardboard box--Mali

The TC-1 loom does not come with a used cardboard box wrapped around the bottom springs--a rather ugly addition, in fact. But the picture above clearly shows one half of the reason that I have one on my loom. I don't really know whether Mali or Dylan was the culprit that had fun clawing the springs--but now I am very careful to protect my loom.

Electronic Weavers Get-together

(left to right, back: Sara, Dini, Tom, Sandy, Kate, Ruby, Julie, Ruth, Sandy, Ginny; left to right, front: Barbara, Deb, Trudy; not shown Georgia, Bhakti)

The new group I mentioned is a group of electronic weavers that gathered yesterday in Craftsbury, Vermont. Laurie Autio (who sadly had to miss the gathering) and Dini Cameron thought it would be a good idea to get together with some weavers who work on electronically driven looms and talk about the experience. Fifteen weavers gathered, from Canada, New York, Connecticut, Massachusetts, New Hampshire, and Vermont. Dini, well-known as the developer of ProWeave software for weave design, is an amazing weaver. Everyone showed samples of work they have done on dobby or jacquard looms, a wide-range of explorations in weaving, but I was most surprised by Dini's beautiful work. I wonder why I didn't realize what a fine weaver she is--and that her knowledge is the basis for why her software program is so good. Anyway, I was very glad I participated yesterday--we discussed work, design, loom issues--and enjoyed a delicious meal together too. The gathering took place at The Craftsbury Inn, owned by Kathy and Bill Maire, and now I know a wonderful place to suggest that visitors to Vermont spend a night, and eat a good meal. Also, they can watch Kathy spin on a spinning wheel. This was a self-selecting group, more people were invited and could have attended, and I am sure it would still have been good, but I do think that the size of the group as it turned out allowed everyone to have a chance to ask questions, talk, and learn about and from each other.

Finished pots, left to right: Bhakti's, Liz's (2), Holly's

Another small group that I have been part of, maybe we should be called pinchers, gathered this week to see the results of our actions. My pot is on the left, above, and now at home it is full of wooden spoons and large utensils. Liz did the middle pots, and an older piece by Holly, head pincher, is on the right. This experience really gave Liz and I, both weavers, insight into the process Holly employs, and respect for her master skill at what she does.

Gathering in small groups and learning from a teacher and from each other is one of the shared experiences most weavers have experienced. Learning a process that is different from the one you are really familiar with can bring new insights to what you know so well. This summer, through the Vermont Surface Design Summer Workshop, run by Pippa Drew, in Post Mills, Vermont, Akemi Nakano Cohn will be teaching Katazome (rice paste resist technique) to a small group of students. Akemi is a gifted teacher, and anyone working with her comes away with a renewed sense about the kindness and generosity possible between people. Here is an opportunity not only to study with a master, and learn a new process, but also to make friends with a new group of people, and to enjoy the beauty of Vermont. This sounds like a winning combination to me! I think there still is an opportunity to join this group, so contact Pippa for details.

I will get to meet my own new group of people in Chicago in two weeks. As I prepare, I really feel the excitement of possibilities. Learning from each other is a superb reason for groups to gather.

Dance Recital

2010-05-09T11:32:00.002-04:00

Life's a bit busy right now, trying to move forward on my website designing, weaving, and preparing for SAIC (class is full and overflowing, which is great)--so instead of words I will post images of the fabulous day I had yesterday. Thank you In Motion Dance Studio and all the budding ballerinas in Randolph.

Building a Loom

2010-05-01T14:59:00.004-04:00

Growth

1971. Paragon in NYC was sold out of the red Kelty backback that was essential for my upcoming trip to Mexico. Panicked, my dear friend Marty agreed to take the train to Westchester with me so I could get one there. I moved to San Miguel de Allende to do graduate work in crafts, but dropped out when I realized it lacked any standards or rigor. By then I was living in a three-story building on a street that crept up one of the hills. It had a glass-walled room on the roof that opened to a patio. Rent was higher than my former NYC apartment, but the view was better. I decided to stay. And I decided to have a loom built--an eight shaft loom--which was four times the normal number of shafts available on any other loom in that town. Vaguely I remember traveling to Mexico City to purchase some parts (was it the heddles? the shafts? both?). How did I even find a carpenter to build the thing? And how did we communicate--my Spanish was very sparse at the time. I do remember the loom sitting outside on the patio, and how much I loved looking at it from my bedroom--the glass-walled room. I also wove on it too. I know I made some tapestries on it, and my memory says, just tapestry. So why 8 shafts when the norm for that town, two, would have been enough? Well, that is hindsight--of course at the time I wanted more so I could explore freely. At that time, 8 shafts meant total freedom to me.

I only had that loom about six months. Friends came through, I sold the loom to a potter, and we headed off to South America--or so I thought. My friends actually got to the tip of the continent, but I settled in Guatemala. We all have our own karma. The Osloom project, which is now fully funded, got me remembering that rooftop loom and the thrill of building it. 193 supporters will all share in that feeling of having built a loom when the first Osloom is done.

I have to chuckle when I think of the future--a two car garage--on one side someone is building a boat, on the other, someone is building an Osloom.

Spring Blooms

Seafood Stew

2010-04-28T15:38:00.004-04:00

April Snowstorm

Woke to a heavy April snowstorm and lovely walk with my dog. The other day, on a sunny blue-sky day, we ran into three little girls, who ran over to pet December. We got to talking and decided they should change their names to reflect the way our dog is named--so now they became July, August, and June. June was elated because her new name was a "real" name. I continued my walk, thinking, "I am living in a Norman Rockwell painting."

Mark's birthday cake on left, and a seafood quiche for later in the week

I mentioned the seafood stew I made for Mark's birthday on Facebook, and several people asked for the recipe. So here it is. First, I based it on Soupe de Poisson, page 50 of my Mastering the Art of French Cooking by Julia Child, et al. and Summer Seafood Stew, Bon Appetit, August 1998, that I got from Epicurious. They are quite similar, just one makes a much larger pot than the other. So if you just check those out and follow the recipes you will do fine. But here is what I did:

I bought a pound and a half of raw shrimp in shells and shelled them and put them aside; along with a pound of scallops. I put the olive oil, chopped onion and minced garlic (I added more than called for) into the pot and sauteed, then added 1-1/2 pounds of fresh chopped organic tomatoes, almost an entire bottle of white wine (the rest went into my wineglass), 2 8-ounce bottles of clam juice, and the spices (thyme, orange peel, fennel seeds, bay leaves, crushed red pepper, saffron, parsley) and cooked for about five minutes--then steamed the mussels in a steamer basket for five minutes--removed them and added a dozen clams and steamed them for 10 minutes. I would not use the clams again in the future since they got tough in cooking, but the mussels are delicious. I think I had about 2 pounds of fresh mussels, and after steaming, I removed them from their shells and set aside until the clams were done (I took them out of their shells too). Then I added some water to the pot and put in 1-1/2 pounds of haddock and cooked the mix for 45 minutes. Then I added the shrimp, mussels, clams and scallops and cooked for another ten minutes. I let it cool and put it in the refrigerator. I made this stew the night before Mark's birthday dinner, and reheat it about 45 minutes before serving.

The day of his birthday I made a chocolate cake with crushed walnuts on the outside. I served rice with the stew but it was already so much, no one bothered with it. We also had a big salad of mixed fresh greens. And, prosecco. It was a nice birthday.

Since the stew was chock full of goodies, before reheating it, I removed three big ladles full of ingredients and used it to make the seafood quiche that is pictured above with the cake. I wanted a really deep quiche--which it was--but I didn't precook the shell enough--so it was rather gooey when I served it the first time to my friend Idora Tucker. Later, when i reheat it several times, it just got better and better.

Winding bobbins for next plain weave yardage

With all my posts about Osloom (there are still three days, and funds are coming in--you can make it happen--and I hope you do), and writing a grant proposal, I haven't gotten to the loom much--but I did finish the burlap which was Mark's birthday gift, and I have wound bobbins to start weaving the next plain weave yardage for him, and I am about to start designing my next jacquard weaving (April snow inspired), so there will be more about weaving soon.

Help Support Osloom

2010-04-23T11:50:00.003-04:00

The deadline for the Osloom kickstarter project is "looming" (sorry, can't help myself) and I am writing this post in hope of drumming up contributions. I know Margarita Benitez from a workshop I taught a number of years ago, and have been in contact ever since. She is a bright, energetic artist, a giving teacher, and an innovator. In her Kickstarter project, she is asking for $10,000 to create a computerized jacquard loom, which will be open-source--meaning anyone else can use her data to create their own loom.

If 100 people donated $100 dollars, she would make her goal. If 200 people donated $50, she would make her goal. Or if 400 people donated $25 each, she would make her goal.

As co-author of The Woven Pixel: Designing for Jacquard and Dobby Looms Using Photoshop® (written with Alice Schlein), I know something about contemporary digital weaving and designing. As an owner of a used TC-1 loom (the Thread Controller was invented by Vibeke Vestby and is sold through Digital Weaving Norway) I am fortunate to be able to weave the images I design in my own studio. Having travelled frequently to use other looms, before I owned my own loom, I know that there are opportunities out there, but travel and classes and materials can add up quickly.

As a teacher who frequently does workshops on digital weaving, I have run into many many many weavers who moan about the high cost of the available looms. So where are you all right now when there is an opportunity to support a new venture that could yield a solution to your desires? Whether Margarita and her team of experts succeeds or not, isn't a $25 or $50 or $100 donation worthwhile in terms of hope and moving towards a new loom?

I know there have been some negative remarks written about this project--and I believe these writers meant it as concrete criticism, nothing personal or mean-spirited--and I feel Margarita has responded in an even-handed manner. Please go to the Osloom sight, and read the debate, and decide for yourself.

Kickstarter is an all or nothing situation--if the goal for $10,000 is not met, then the pledges already made fade away. I am quite sure that Margarita will continue with this project, whether she gets funding this way or not, but wouldn't it be wonderful if the weaving community, which numbers thousands around the world, would come together and make her dream our dream.

Just Trying To Get it Right

2010-04-18T13:52:00.004-04:00

Lately in my lectures about my work (which is about my life, since not much is compartmentalized for me), I have noticed how often I have moved. Besides calling Mark and myself “urban nomads”, in defense of all this uprooting and replanting, I have taken to saying something like this: “I am just trying to get it right.”

This morning, as I was making my breakfast on the electric stove we inherited when we bought this house, I was mulling over the idea of learning something, and taking it into the next part of your life. After all, isn’t that what experience is for—to learn from it, so you can have a more elegant outcome the next time a similar situation presents itself? And similar situations always present themselves. In our Kansas home, year 2000, one of the first things we did was pay an outrageous amount to have a gas line put in the house so we could remove the very ugly electric stove that was there, and put in a beautiful stainless steel gas stove/oven. We had just bought a new oven for our New Mexico house (1999) but because we were off the grid, we had to buy the absolute simplest model—one without a clock, or any of the fancy regulators common on most models—a gas range that was converted to propane. Therefore, I was so pleased to be able to get what I wanted in Kansas, my new stainless steel range. However, I don’t remember it cooking or baking very well. Nothing extraordinary there, except it did look pretty.

Electric Range

Here, in our Vermont house (2008), we have a contemporary white electric range with the glass stop—no more tipping burners that disconnect in the middle of cooking (Arizona, 2007). If I want to have gas, as I was sure I would, then we have to go with propane again—but here I can get the fanciest model, whatever I want. Right now it is low on our list of priorities—a new efficient refrigerator would come first—but I am finding out something interesting. This is the best oven I have ever had. It bakes cakes perfectly. If a recipe says 350 degrees for 30 minutes, then the cake is done exactly at 30 minutes. I can even stir-fry on the glass range and things sizzle in minutes. Each day the stove’s place on the wish list drops further down. Will I request a similar stove in my next home (20??)—I don’t know. I certainly will be more open to possible solutions, depending on the circumstances.

So what did I make for breakfast? Cream cheese and lox on a tortilla. A combination of experiences from different parts of my life: cream cheese and lox from growing up days on Long Island (1950-60s), tortilla love from Guatemala (1970s). Getting it right doesn’t always mean doing it the same way. In fact, it usually means learning something and modifying it for the present circumstances. Like stopping at Trader Joe’s on my way home from Massachusetts to buy a freezer bag full of their frozen potstickers. Would I choose these if I were in New York City? Of course not—I would be down at a dim sum restaurant right this minute gorging on my favorite food. But what a treat in Vermont to be able to open a bag of these frozen dumplings.

Breakfast

I am almost at the end of a very interesting book called Journey of Souls by Michael Newton. It is non-fiction, but many people would call it fiction. Apparently he has written four books and this is the first. I am fascinated by what he writes, not sure where I fall on the fiction versus non-fiction. Okay, I lean more towards non-fiction. He is describing the place where souls reside between lives. The funny thing is what he has them doing there—they are studying and learning. If true, then I think I will enjoy myself. Apparently we spend a lot of time looking at our past experiences and analyzing what we did, and what we could have done better, and how we can return in a new life and try those situations over again and see if we have indeed learned a better way, or not.

There is so much to contemplate from this book—whether it is fiction or non-fiction—the purpose of all good literature, right? Maybe because it is spring, but I am certainly in contemplative, analytic mode, trying to remember what I intended to do and seeing if I can get back on track. Opening my heart, remembering kindness, listening to people with love rather than judgment—these are the sorts of things I tend to forget and am trying to rekindle and restore. I know I don’t have to move to get it right; I can just get up each day and try again.

Weaving Burlap/Jute?

Meanwhile, I have all five looms threaded. I am weaving on the warp with the mystery thread that I used the McMorran Balance to determine the yards per pound. The cloth is turning out so differently than I imagined (is this a metaphor for life?). It seems I am weaving burlap. On the spool I just couldn’t see it, but looking at the cloth, I think I can determine that the yarn is jute. It’s weaving fast—by the end of the day I will only have four of my looms threaded.

Weaving Lesson: Threading a Loom

2010-04-11T12:56:00.004-04:00

McMorran Balance, Weighing Yarn, Finding Sett

When I wrote on Facebook that winding warps was one of my favorite activities, my friend Ann said I was "wacky." But i do love the set up of a loom, winding the warp and dressing the loom, something I miss when I add a new warp to the TC-1 loom by tying knots that connect the old warp to the new one. For all those of you who think weaving and setting up a loom is a boring process, I say, it is fraught with tension--a mine field where every step has a possible mishap lurking. So I photographed my process the other day to share with those of you who have never woven, and might be interested in the process. Before you actually get to throw the shuttle and actively make cloth, there are dozens of steps that proceed, and lots of lovely tools to help in the process.

One warp I wanted to make was from a spool of linen thread, which had no data on it--so I took out my McMorran Balance to find out the approximate yards per pound of this yarn (1300). Then I weighed the spool (15 ounces); and then I did a warp wrapping to find out how many ends per inch would work for a balanced plain weave (10 epi) (the warp sett). Calculator, pen and paper (not photographed) got me the calculations that I could safely wind a 24 inch width at 10 epi of almost 3 yards and have enough yarn left for the weft. (We will see.)

Overall Picture of Threading Loom; Counting 40 Warp Ends

With the warp wound, I can go to the loom. The following pictures are of a different warp than discussed above--this one is 40 inches wide, Borgs Bomullin (50% flax and 50% cotton). I wound on an 11 yard warp (with the help of my husband), and the plan is to thread 20 ends per inch--800 threads. What isn't pictured is the hours spent counting the heddles on each shaft, moving them over so they are in the proper place on each shaft (these shafts are divided into three areas) and adding heddles on each of the eight shafts since none of them had enough heddles. There was math involved here too--800 divided by 8 = 100 heddles per shaft; then divided appropriately for the three sections which are not identical in width. Above you see the general set up--note the important coffee cup which seems to be making an appearance in every step of the process. On the right you see me counting off a group of 40 ends.

Counting and Moving Over Heddles; Threading Heddles

Then I count off a group of 40 heddles--5 on each shaft (40 divided by 8 = 5). I should note that I go for accuracy rather than speed and I have these processes which help show me as I am going whether I have made a mistake or not. I would much rather correct a mistake in 40 threads than find out at the end that there is a problem somewhere in the middle, or anywhere. I hold the 40 ends in my right hand, along with a threading hook, and use my left hand to move over the correct heddle and pull out the next thread from the group and hold it taunt so the hook can grab it and pull the thread through the eye of the heddle. If I have done everything right, there are now five threaded heddles per shaft and no extra threads in my hand, and no shaft with more or less than five threads.

Pulling Group of Warps in heddles and tying them in a knot

Then I pull the group tight and make an overhand knot in front of the heddles. Even though i don't go for speed (I always lost to my friend Marilyn when we worked together in her studio in Brooklyn in the mid-80s), I am always amazed how fast this process can go. It definitely takes me about a third of the time to thread a loom than to tie the knots on the TC-1.

Pulling two warp ends through dent of reed using a hook and tying groups in a knot

After all the warp ends are through heddles, I get to thread the reed. In this case I used a 10 dent reed, and put two ends per dent (bringing the sett up to 20 epi). Reeds come in different divisions, and over the years I have acquired a great variety. If I had decided on 30 epi, I could use this 10 dent reed (10 spaces per inch) and put three threads per dent, or I could use a 15 dent reed and put two threads per inch, or, if I had it, and the threads moved smoothly through the space, I could use a 30 dent reed and put one thread per dent. The cloth I am going to make is going to be a fairly open plain weave, but the cloth will shrink when washed and make the cloth firmer. It is going to be used by my husband, Mark Goodwin, for his work.

Mark and I have talked about collaboration before, or tried to talk about it--I guess I am not an easy collaborator. But he has been doing some experiments on cloth I have given him, and the results are starting to be really intriguing. You can see two of them below. So now I am going to make yardage for him so he can really explore. I don't know if the energy I am putting into the weaving is really making a difference, and I don't actually think this is a collaboration, since the creativity is all coming from his side once he has the cloth, but I do like the idea that the cloth is a catalyst for him, and I like that I have this weaving to do. It is different than the work on the TC-1, less demanding in terms of expectations on my part. Thinking about why I like dressing a loom so much, I realize it is an activity where I feel in control--I have mastery. It is one of those mind-body connections where I have done it so often that the smoothness of the process feels right--I feel right--in other words, I know what I am doing.

Drawing by Mark Goodwin on cloth woven by Bhakti Ziek

Another Mark Goodwin drawing on Bhakti Ziek cloth plus more work by Mark Goodwin

Will end with an image of the beautiful light pattern on Mark's studio wall yesterday. We both wish we could claim it as our art.

Light Pattern on Wall

Re-Cycle

2010-04-04T21:14:00.003-04:00

Spring Returns

Here's our first spring flowers! So the cycle starts over. I guess you could say this every day--every morning a fresh start; every evening a return to sleep. But sometimes it takes something remarkable to make you conscious of the passage of time and the recycling of events. The almost 80 degree temperature the last few days was certainly a jolt--but for me it was the jauntiness of these crocuses that really said, once again it is spring.

Weaving cycle: winding warp, tying knots

Weaving is all about cycles, repetition and movement. I am all over the house right now working on the next weaving. Winding the warp on the ground floor meant bringing skein winder, spool holder, bobbin winder, yarn, scissors, and tying thread downstairs so skeins of yarn could be converted to a new 4 yard warp. I am aware that my process is very inefficient--tying 880 ends, new to old, for just four yards is going to really get to me after a few warps--but I don't want to have the same ground on these weavings, and I don't want to paint my warps. I was talking to a friend about this, how a process that was once almost my signature has no draw for me now. I did consider it, it would enable me to wind a long warp and make each section different--but then I would be locked into the colors that I dyed now--and really, I want each piece to inform the next one. So I have opted for "slow" work--each warp short and distinct. The current one is stripes of white yarn--a silk and ramie mix, a silk and linen mix, and several variations of 100% silk. All 880 knots are now tied.

I took the knot tying as an opportunity to have a Bob Dylan festival--all Dylan all day for two days--one of my favorite events that has cycled through my life ever since I first became a fan. At one point I was sure I would meet him--it was inevitable. One of the first weavings I did was a guitar strap woven on a belt loom that an acquaintance of mine, who knew Dylan, supposedly gave him from me. That was back in 1969. I guess I hoped I would see it on his guitar at one of the concerts, or, even better, on one of his album covers. It was inevitable, right. Listening to him sing brings on such a weird combination of nostalgia and the present moment. How many classes did I cut when Blond on Blond was first released? I had never heard a sound like that album before--I just couldn't get enough of it. As soon as it reached the end, I would just get up to start it over, then lie down on the floor again, completely mesmerized. As often as I have listened to his music, I can still hear a new phrase, or get a jolt from a familiar one. So I will never get to say thank you in person, but these days I realize I don't need to meet him. I think the gratitude in my heart is enough.

Detail showing front and back of March weaving

One of the things I like about lampas is that the front and back of the cloth can be so different. Here is a detail of both sides from the March weaving that I posted last time. I used four wefts--and on the front you see distinct areas of color (plus you are seeing warp strips too) but on the back the wefts combine to give a completely different coloring. Sometimes I have combined both surfaces in one weaving, but not in this one; nor in the small weaving I squeezed out of the final bit of warp. I guess you could call this the cliff notes version of my March weaving, or Mini March. There are differences, the gold lattice is not outlined in black, the warp stripes run vertically here where they are horizontal in the large weaving. They are clearly related though: cycle and recycle.

Cliff notes version of March weaving

Both Mark and I have been busy in our studios these last few weeks. It's not like we aren't always doing something, we are, but some periods are just more productive than others. Again, a cycle. When we first met, as students at the University of Kansas, we would work late into the night, into the morning really. Around 2 or 3 a.m. one of us would go find the other (I was on the 5th floor, he was in the basement) and we would head home. Thirty years later we are still spending our finest hours alone in our studios--but this work, these hours, it is what makes our time together potent and interesting. Living with an artist means I have a partner who understands and honors the fact that making my work demands private time, lots of private time--just as I honor his work space and needs too. It is nice though, that I can tell him in person, periodically, how lucky I am to share my life with him. Personal cycles.

Drawing by Mark Goodwin

Technology Scream

2010-03-30T18:35:00.005-04:00

March weaving by Bhakti Ziek

(whole image at top, details at bottom)

On this dreary wet frustrating day, I will start with an image of my finished weaving. I don't have a title yet, which is unusual for me since the weaving usually "tells" me its name while I am making it. For now, it is March weaving. My reading of A Path with Heart tells me that many people, when mediating, notice their mind stories are often self-aggrandizement's--and that certainly applies to me--not when I am meditating, since that is rare, but when I am weaving. I think this weaving is a very good beginning for a body of work, but perhaps it is not quite the shining, magnificent, awesome work that I saw as I was making it. Sometimes when I finish a work I have to put it away for a month or so before I can see it for what it is, rather than my expectations and judgements. This one is on my wall right now, which is a tribute to my early acceptance of it. It needs to be mounted and finished, but I have months to procrastinate on that.

So I have been fussing about the learning curve of new technology--in my case, a new scanner and a new digital camera. The camera is already not working--and the really frustrating aspect is that I purchased it from a vendor online, through Amazon, and, unbeknown to me on ordering, it came from Hong Kong. I have nothing against Hong Kong, but the warranty for the camera is not valid here in the USA--and I just feel like screaming. I am not a big consumer, so the idea of exchanges and exchanges that mean shipping overseas, is really frustrating me and ruining my day. Those of you who do shop online and through Amazon know that it also means email correspondence, no easy recourse to a living human being, and probably weeks until this gets resolved.

On Sunday I went to Montpelier to see Don't Know, We'll See: The Work of Karen Karnes by Lucy Massie Phenix, which was shown through the Green Mountain Film Festival. Both Karen and Lucy were there, which was very nice, and the movie was quite inspiring. At one point Karnes' studio (and house?) burnt and the film shows her the very next day going through hot smoldering destruction, pulling out a pot or two (the last kiln load of work survived). I could not believe that she was so cheerful--not a moment of self-pity. She says she is lucky because it was only things that were lost, it could have been much worse. So I am going to tell myself the same thing about today--it's only a tool/toy and even if the situation doesn't resolve itself to my satisfaction (and it probably will), it's only a thing.

Maybe you noticed that I have added a link on the right side of this blog where you can sign up for email notification that I have posted a new page. A friend asked me to do this, so I looked it up online (so technology does have some good to it today) and added it to my blog. This might mean that some of you who click often looking won't have to do that, and my numbers on the click counter won't grow so fast, but I am sure it will be more convenient for you, if you want that type of notification.

10,000 Hits

2010-03-23T17:47:00.002-04:00

More Images of March weaving progressing on the TC-1 Loom

This week my blog reached more than 10,000 hits. I know it doesn't mean 10,000 readers, that it could be the same loyal 49 followers reading it over and over again--but it makes me feel important to see that number grow so large. Thank you, everyone, who takes the time to read this blog.

As you can see, my weaving is progressing. In fact, I finished it this afternoon. I still have enough warp left to weave a small image, which means back to Photoshop® to design it. Probably i will do a detail from the larger piece as a reference. When I get it cut off, I will photograph the piece with my new camera, which just arrived today. The old one doesn't allow enough pixels for good prints, and it skews everything. Hopefully this one will be better.

Sheep, lambs and rooster at Highfields Farm

Curious Lamb meets Friendly Dog at Highfields Farm

We had lovely weather over the weekend and the owners of Highfields Farm in Randolph, VT called to say it was a good day to come see the lambs. In fact, it was a perfect day to see them--all eleven of them (well, maybe there are ten). They were frolicking and running around--we couldn't have asked for a cuter scene. Then Julie and Chris came back from a walk with their dogs--and I captured the image above of the curious lamb coming over to greet the dog. They actually touched noses. I really want my own farm and sheep and baby lambs, a few goats, chickens and fresh eggs, and a big garden (that someone else weeds).

Dinner Party with my tablecloth--notice that it shrunk

Well, the tablecloth definitely shrunk. I can't hem the ends or it won't fit lengthwise--and it just barely goes edge to edge in width. I really thought I had woven enough--I certainly had the warp to extend it by a foot. Oh well, it still works and my dinner party was a success. Can't say that about the latest power of myth gathering. Oh, the gathering was fantastic (thank you Kelly and Forest)--lots of fun--but the consensus is to leave Joseph Campbell in the dust. There actually is an option here--whoever hosts the future gatherings can choose the video--or I suppose they could choose to do a poetry reading, or play charades--but my vision of six meetings watching the six episodes, with six discussions really ended after session one. This one didn't exactly count since the video turned out to be the second one of a different series, a bit more pedantic as if Campbell was lecturing to his Sarah Lawrence class. I felt I should get a notebook and take notes, quickly, so I could be prepared for the upcoming test. It just didn't generate the type of conversation we had after watching the Moyers-Campbell part one. Mostly that conversation was about how dated their clothes and hair styles were, and how funny all that star wars stuff was--but it was still good conversation. This evening had its unexpected highlights though--like Tommy playing the piano. The entire house filled with powerful sound--it was like magic.

Hardly any snow on March 20th

We have had rain for the last two days, sunny warm days before that, and you can, almost all the snow was gone on Saturday, so after the rain, there won't be any. But I am warned, anything is possible in Vermont until May, or even later. I refuse to believe it though. Spring is here and i am all for warmth.

Spring also has brought registration for the summer classes at the School of the Art Institute of Chicago. They just finished registration for their students, and this week they open it up to anyone who wants to attend. There are some openings in my class, so if you want to study with me, sign up at www.saic.edu/summer. The class is open to any level of student--beginner to advanced--and students will work on floor looms as well as the TC-1 hand jacquard loom. This is the only venue where I will be teaching this summer, and probably for the rest of the year.

Busy Weaving

2010-03-18T23:26:00.004-04:00

March weaving growing on TC-1 loom

It is so good to have obligations on the calendar that force me to stop playing computer games and return to the loom. I gave a talk on Saturday morning for the Vermont Weavers Guild, then they came to my house to see the TC-1 loom in action. I also put out most of my ethnographic textile collection in hope that pieces would find new homes (and a few did). Spurred on by the visit, i got busy last week weaving. I always wonder why I have these long breaks, once I return to the loom--because it really is exciting to see the image grow. This weaving is going to be approximately 42 inches wide so the motif that you see developing in the images above will be on the left side of the final weaving. It is one of the drawings I did when i was trying to figure out classification awhile back (remember, the PBS Art 21 series?). I never did decide where I would place myself, but I like the motif and am very pleased how it is working in the cloth. There is a gold metallic weft that is being used both for the ground and for patterning, and my photos are not giving you a clear sense of the simmer and shine of the piece. Maybe when my new camera arrives I will be able to show you it better. And by then, it should have become much longer too.

Two of my studio walls with structural studies hanging

I hung the walls of my studio with the structural studies for the guild to see. I find them very useful myself but have given up on the idea of making them my art work. They are what they are--and that is enough. I see I have different aspirations for the current piece than I do for them. That means I will be very critical of the weaving when it first gets off the loom, and then, hopefully, I will soften with time.

Some of the ethnographic textiles in my collection

After the excitement of the talk, and a house full of weavers, I had a quiet day putting all the textiles back in the containers where I store them. It is almost a ritual, to take them out, try to sell them, remember when and where i bought them--usually directly from their maker--then carefully fold them up and put them away. I wonder if they will end up in some thrift store when I die? I hope not. India, Guatemala, Uzbekistan and Japan are all represented in the fabrics above.

On Monday, Liz and I had a lesson in coiled pots by Holly. We really had a good time. I definitely felt like a grade-school child, awkward and out of control. I had to put my first attempt back in the recycle pile, but my second attempt has possibilities. It is going to be a spoon pot for our wooden spoons and stirrers. It was really informative to work with Holly and see how skilled and joyful she is with the clay. One little pat or pinch by her and our work would shape up.

Holly Walker and Liz Billings making coiled pots

Yesterday Mark and I drove to Pawtucket, RI to pick up two of my weavings that had been in an exhibition at the Slater Mill Gallery, juried by Norma Smayda (center below) and Jody Brown (right below). Andrian Paquette (left below) was kind enough to show us around Slater Mill, which has wonderful old textile equipment that is still running. Andrian demonstrated the narrow tape loom which is shown in the image below. We also saw the renovated studios where classes are taught and meetings are held by a number of guilds. The waterfall outside the mill was really roaring and Andy said the river was about 8 feet higher than normal.

Andrian Paquette, Norma Smayda, and Jody Brown at Slater Mill

Narrow tape loom which is still weaving, see all the dobby bars on the left side of the loom!

After the mill, we went into Providence to see Kristin Crane's handmade books at Craftland. Kristin was a textile designer, before most of the mills in the area closed, then studied graphic design, but she seems to be thriving as a bookmaker and one of the directors of the gallery. She also sells her work on Etsy. I was a bit overwhelmed by the city--pastoral Vermont has changed me. But not so overwhelmed that I couldn't find Whole Foods and immediately spend my lecture fee and then some. I realize I am glad we don't have a store like that near us in Vermont (I think I am sounding like that cliche about New York--you know, the one that ends "but I wouldn't want to live there.")

Kristin Crane holding one of her travel journals in Craftland

I bought the new Abstract Expressionists stamps at the post office the other day. They are so cute that they will really tempt you to send a real letter. All these miniatures of very big paintings. Some of them are huge though in terms of stamps and when I mentioned to the post person that I would have to turn the stamp to get it to fit on my envelope, and was that okay, he said, "It's abstract expressionism. You can turn it any way you want."

New stamps available at the US Post Office

Goodbye Loom

2010-03-07T10:50:00.004-05:00

Last project on dobby loom

Yesterday we said goodbye to the beautiful dobby loom that took center stage in our front room. The first step in disassembling the loom was to cut off the yardage that was on the loom. I laid out the damask block section on the table and am relieved to see that it is long enough to go edge to edge. I hope after washing it will still cover. Now the front room is empty, encouraging us to bring the sofa from the second floor office downstairs to be more useful.

Thank you to everyone who sent me comments on my last blog post, many of them came in direct emails to me. They all were thoughtful and encouraging. I have been rereading Jack Kornfield's wonderful book, A Path with Heart, and, honestly, I want to underline every sentence. It is reminding me that each of us has to forge our own way, authentic to ourselves. As soon as I wrote the last post, I knew that I had already come to some decisions--like focusing on weaving work for an exhibition, and not letting other things interfere with that commitment. I will have to finalize the first work soon, since the Vermont Weavers Guild is coming to see my studio on Saturday.

If you are on Weavetech (a yahoo group) or the Complex Weavers Jacquard Study Group, you already know that Garth Fletcher, the developer of JacqCAD Master, a software specifically for jacquard design, has announced that the program is now available as shareware. He explains it all on the website. When I taught in universities, this was one of the programs I used, and I had created and saved hundreds, maybe thousands, of weave structures in that program. When I left academia I no longer had access to any of that information--and it is one of the reasons I was interested in developing Photoshop for jacquard (see The Woven Pixel for those results). With my impeccable sense of timing, about a month ago I cleaned up the two computers that had all my JacqCAD files on them and threw those files into the trash! Oh well. I probably won't go back to that program, since I am quite satisfied with my method of designing and weaving using Photoshop, but it is an excellent program and Garth has offered a gift to everyone in the field.

I want to mention the Osloom project again. I like the spirit of this project. It is an attempt to open up new technologies in weaving to a larger group of people. I also want to say that I suspect that as that project unfolds, they are going to discover that the high cost of the current hand jacquards is due to the expense of manufacturing parts that are specified to the tiniest fractions of variation--and anything less than that will cause problems with the loom. Vibeke Vestby began her investigations that led to the TC1 with the same spirit of innovation and sharing that Margarita Benitez has for the Osloom. The expense of the loom has not increased because of greed but because of the value of the dollar versus the Norwegian krone. Despite the headaches of manufacturing, Vestby and her company have continued to improve the loom, and continue to offer the best customer support possible. As I return to my TC1 this week, I know for certain that I will be sending silent blessings off to Vestby, in gratitude for all she has done for me and other weavers. In that spirit, I wish Benitez support for her project, and hope you will donate to her kickstarter project. If enough of us donate $25, it can add up to the sum she needs.

Creative Business Ideas

2010-02-26T14:45:00.005-05:00

Snow Snow Snow

It seems like everyone else got snow this winter except us. We were seeing the ground in most places but Tuesday winter announced, in a very loud voice, "I am still here." Majestic and beautiful. Be sure to watch my video at the end of this post.

I want to talk about the Breaking into Business workshop, sponsored by the Vermont Arts Council, that I took Valentine's Day weekend. Led by Maren Brown and Dee Boyle-Clapp, the first day focused on marketing strategies and the second day on writing a business plan. As you know, I have been trying different ways to get my weavings out in the world, and I thought the comment by Neki Desu to my February 12th post, was very apt. One of the things Maren and Dee told us about were online surveys, like the ones offered by SurveyMonkey, where you can query your clients about almost anything. I had an ahha moment when I realized, I can ask you directly, right here, to help me figure some things out. So my first question is:

What can I offer that would get you to pay me money for it?

I am not saying that I will follow all suggestions, after all, I am always teaching my students to take what I say, or anyone else says, put it in a basket, and throw it in the air, like rice being separated from chaff. If it is relevant it will stick, if not, let it blow away. However, I will definitely listen, and try to "put on" all the suggestions. If something fits, I will try it. That was what my silent auction was--an attempt. When it didn't work, I took it away. I learned something--that is not the way.

I will say that in the two weeks since the workshop, and after having such a positive experience with students in Fibers at UMass-Dartmouth, I am thinking that I should increase the number of workshops I am willing to do each year, traveling to schools to do these short, intense lecture/workshop/critiques, and separate any commercial pressure from my studio weaving. This is what I did in the past, when I taught full-time, and it allowed me to create work that was labor-intensive, personal, and creative. I never allowed the thought, "who will buy this?" to enter into the equation. I am enjoying doing functional weaving for my own use--it is a daily thrill to see my own curtains hanging in the living room; the new tablecloth fabric is woven and just waiting to be cut off the loom--but I don't want to divert my art work into this direction.

Another idea that is changing is my offer of tutorial teaching. When I first moved here, it felt fine to share my looms with students for a short time--and I had absolutely fantastic experiences with all the students that have come here. But now that I want to focus on a body of work for my show in January, I don't feel I can interrupt the work on my loom for others to do work on it. In fact, I have had to turn people away for just that reason. Perhaps I can set aside specific time each year and offer tutoring during that time? What do you think?

We all have bills to pay, daily expenses for food, heat, shelter, gas, medical, taxes, and those constant surprising miscellaneous items which never stop coming just when you think you are going to have a cushion. I already have the loom of my dreams. Honestly, my needs are modest. (But modest in the USA is like funding a village in other parts of the world.) So readers, please send me your suggestions, either comment here or send me an email, and help me find ways to keep my studio practice true to itself, and still pay my bills.

I want to mention a few other things.

I broke down and signed up for Facebook. I have two accounts. One is a business page:

Bhakti Ziek - Weaver

You can sign up there and become a "fan." Just to show me some support.

The other is a personal page:

Bhakti Ziek

You can invite me to be your "friend" and I will confirm. We all need all the friends we can get, right?

The other thing is that Kickstarter.com was mentioned in the workshop, and then I heard from Margarita Benitez about her Kickstarter project. For all those who have been interested in jacquard weaving, but feel left out because of the expense of the looms, this project is just for you. Please go to her site and pledge money. She has 64 days left to raise her $10,000 goal. If she raises less than that, she gets nothing; if she raises more, she gets it all. An open source loom is a win for all of us, not just her. Please read more and get the word out to other interested people.

Finally, here is my latest video. I posted one on my Facebook page and nobody commented. Maybe because it had a red background. Try this one--blue.

Randolph Snow - Blue by Bhakti Ziek

Trip to New Bedford

2010-02-22T14:35:00.005-05:00

Travelling to New Bedford for Lecture and Critiques

I went to New Bedford this week to do a lecture and critiques for the Fibers Department of University of Massachusetts-Dartmouth. This was the first time I saw the new studio building since they moved it from the Purchase Street location where Mark did a year of graduate work. They are now located in the center of New Bedford in a renovated department store, and the studios are wonderful. They just hired Deborah Carlson (tenured, full-professor) to head the Fiber Department, which I think was a brilliant decision. Deborah is an inspiring artist and weaver with years of experience teaching and encouraging excellence from her students. If you know someone considering graduate or undergraduate work in Fibers, be sure to have them consider this program.

Students in Fibers working with Deborah Carlson (l), Kristin Crane in center, Paula Becker in front of student display (r)

The program at UMass -Dartmouth has been strong in both art and industrial applications for fiber. Besides Deborah, students are also working with Paula Becker. I first met Paula in Philadelphia, when I was teaching in an industrial textile program and she was a designer for Craftex. Later she went to Cranbrook for an MFA, had a child, did part-time college teaching, and worked for very high-end mills. Currently she has been able to conduct a project with students working with Swarovski and I saw some interesting results using crystals in the critiques. Her students are also getting the opportunity to design and have fabric woven through a local mill, Victor. I was quite impressed with how Deborah and Paula are envisioning the future for their students, recognizing that most mills have closed in the USA, and that small production, like the work shown on Etsy, is a viable model for handwork and art.

Deborah Carlson at the loom and detail of work at right

I did a talk on my work the first morning, and then had individual meetings with graduate students that afternoon. The next day I participated in a critique for the seniors, then had individual meetings with each of them. I was particularly impressed with the work of Dayna Day, shown below. She showed a machine embroidered work that had such flow and energy that it immediately captivated me. At first I saw it as organic abstraction and then realized she had embedded images from her life. Since baking is always a sub-text in my blog, I naturally took an image that shows her mixer.

Dayna Day with her embroidered narrative

The lobby of the art building is an open gallery with display cases used by students (see image of Paula Becker above in front of them), as well as entry to a gallery space, run by Lasse Antonsen. Exhibits vary, but I happened to catch the Merkin exhibit that originated at the last Surface Design Conference. Below are images of works by Elin Noble and Emily DuBois that were in the exhibit. I included the definition of merkin, in case you didn't know the word.

Merkin by Elin Noble (l) and Emily DuBois (r)

Elin and I became good friends when I lived in New Bedford in 1989-90. A few years ago, Elin, Tabbetha McCale, and I travelled through Turkey together. It was terrific to have time to catch up with all the wonderful changes in Elin's life, including a new home and studio with her husband, Lasse Antonsen. I was in extreme envy when we visited their studio Saturday morning. They share a magnificent space, which has allowed Elin to create new work that ranges from large to small. She also has a new free arm sewing machine that she is using on her work. The piece behind Elin and Lasse in the photo below is about 20 feet high. It immediately grabs you by its bold color and patterning, then you approach and you are awed by the intricate quilting that covers the work.

Elin Noble & Lasse Antonsen, details of work by Elin Noble

Elin Noble at her free arm sewing machine

Two marblized pieces by Elin Noble

Elin has always done her own art work, but she also has helped thousands of others through her former work at ProChemical, through the book she has written, and through the workshops she gives internationally. I felt so pleased to see the leap in her own work now, exemplified by the large quilted pieces and these amazing marbleized silk pieces, two of which are shown above. It is so encouraging for me, for everyone in fact, to see another artist find their voice. It affirms the fact that art is a process, that it does ebb and flow, and that perseverance furthers. Not everyone ends up with glorious results, but Elin Noble certainly is in a period of grace and beauty.

Lasse Antonsen in his studio

Lasse is also a case of encouragement for artist and art making. He is an art historian and curator, but has been focusing on his own work in recent years with a kind of joy that comes from, in the words of Joseph Campbell, "Following your bliss." It was apparent to me that these two artists are encouraging each other to do their work, get it out in the world, and share with others. They are great role models, and I really enjoyed seeing how New Bedford has changed through their eyes, which included a trip to The Gourmet Outlet, where we grazed for lunch. They put out recipe cards next to the food they served (Yuzu Salmon Salad, Italian Cous Cous Salad with Dried Fruit, and Jansal Valley Salmon Tartar were among the dishes I tasted) and on their website they also list recipes.

Grazing at The Gourmet Outlet

So I got home in time to host a Power of the Myth potluck dinner last night. My friends outdid themselves with the delicious food we shared, as well as the great conversation engendered by watching the first part of the six part series. Most people felt it was dated, and had some criticism of the first part, but everyone seems to want to keep going and see more. For my part, I still find his thinking and making connections between cultures from vastly different times and parts of the world, totally inspiring. Even more inspiring were our neighbors, Kelly Green and Forest McGregor, shown below. Kelly's stuffed baked potatoes were superb (we had some for lunch today) and so was her outfit. I especially love her gloves.

Kelly Green and Forest McGregor at the end of a great gathering

Damask Blocks

2010-02-12T11:28:00.005-05:00

Weaving block damask tablecloth

My tablecloth fabric is coming along nicely, as you can see above. I love the image that contrasts the simple block pattern on the loom with the Uzbekistan ikat on the pillow I am sitting on while weaving. Isn't cloth amazing--the most inspiring visual media in the world and it can be functional too! I am using Borgs Bomullin (50% cotton and 50% flax) for both warp and weft--the warp is natural and the weft is bleached. It never fails to amaze me that a weaving builds, line by line, from bottom to top, and that all these individual elements become a strong, and sometimes beautiful, plane.

Personal shrine with Poppies

You may have noticed that I removed my silent auction weaving. It was a disappointment--not one bid. I am left wondering if my weavings are truly awful. Since my ego doesn't like that thought, I have decided that people like my ideas and writing (I do have almost 9000 hits on this blog), that I am respected as a teacher, and well, yes, my work is appreciated because I am invited into lots of exhibits. Apparently my blog is reaching this audience (which I appreciate, believe me, I love seeing the number of readers increase), but you must be different than the collectors' group. I am going to take a workshop this weekend, sponsored by The Vermont Council of the Arts, called Breaking into Business. Hopefully I will learn how to reach the collectors, as well as you, so I can continue to go grocery shopping and do my weaving. In the meantime, since I liked having an image of my work in the top right hand corner of the blog, I have decided to post a monthly detail from one of my weavings. Poppies, which was a generic version of the birthday weaving I made for Liz Billings, says "Poppies gently swaying, whispering happy birthday 2U." Right now it is hanging in our kitchen (personal shrine area) reminding us that spring is just around the corner.

Modifying Plans

2010-02-08T20:32:00.005-05:00

I had this plan to weave a tablecloth with an excerpt from an online I Ching advice site that i got last week. It said:

"You have passed this way before but you are not regressing. This is progress, for the cycle now repeats itself, and this time you are aware that it truly is a cycle."

So I spent time doing it in various methods, including the diagonal word method described in Alice Schlein's new book, and finally decided on my own handwriting in a vertical column, with some circles at the bottom to represent cycles. My total pegplan was 2160 picks. I was assuming 20 ppi when I made the design, with 24 epi in the warp, so I designed it at a pixel aspect ratio of .833. Everything was going along fine--I finalized my image, saved it to my USB jump drive, and turned on my old macintosh, which has a driver for my AVL dobby loom. Then I realized that the computer was from an era before USB and I couldn't transfer the design that way. So I made a CD and saved the image as a pict file, since my old software uses that format, and discovered the old computer can not read the new disks. Uuuugghhhh....urrrrr....hmmmmmm.

I opened up the software and clicked in a simple 8-shaft satin/sateen block design and saved it. Probably it is a better image for a tablecloth anyway. Then I decided, why waste the electricity on such a simple design--so I hand pegged a chain of 24 dobby bars, and put it on the loom. Tomorrow I am going to put some floating selvedges on the loom and get started weaving. This is going to be my last weaving on the AVL, since the loom has found a new owner and will be moving to Maine. I have offered the old computer with the loom, but after my experience tonight, I have also suggested she rethink that offer and go with a new model and current software.

I am not giving up on that saying though--it is too good--and will weave it on my TC-1 as soon as I get back to that loom, which will be soon.

Table by John Parker

Detail of table showing some math

This weekend we went to the annual sale at the East Barre Antique Mall and saw some wonderful things in the booth that John Parker has, including the table shown above. The math on the table has a date from 1929 (or something like that) and it really reminded Mark and me of a weaving I did where I scanned the page of mathematical calculations for a jacquard as the background of that jacquard, and then imposed sketches I drew in Italian museums on top of the math. It was called Lucca Math. It was made and sold in the era of slides, so I don't have a digital image that I can post here. You will just have to take my word that this table and my weaving are first cousins.

Last summer temporary entrance to SAIC

I am posting an image of the temporary entrance to the School of the Art Institute of Chicago that I took last summer, as a way to announce that I am going to be teaching a three week intensive summer course there again this summer--June 1 to June 18, 2010. You can see a slideshow of the work produced last summer by clicking on the notice in the sidebar to the right of this post. When registration begins, full-time students at SAIC get to sign up first, but usually there is room for other students. Last summer about one-quarter of the students were non-traditional or attending other programs. It was a fantastic mix of people, all levels of experience, and I look forward to the upcoming class.

Code Nightmare

2010-01-28T10:14:00.004-05:00

Code One

I don't usually think I dream, but this morning I woke from a nightmare with all the physical sensations of panic and distress, along with relief, since I "found a solution" to the problem just before I woke. In my dream I was suppose to give a talk to students at a college in California (I know it was California but didn't know the school) and I was bringing sample fabric rather than images to the presentation. I know I went with a friend to the campus originally, where I met the people and set-up the appointment, and I remember being given a brochure with a map showing that I was at campus two, somewhere in the hills of a high desert region. Then I was in the car with Mark and another friend and we were looking for the school, for me to give the talk, and I realized that I hadn't brought any of the sample textiles with me. When our friend pulled up to the campus, I also realized he had brought us to the wrong campus. I went inside to try to call the department--I didn't have any contact names or information--and no one answered the phone. No one seemed to know where the second campus was either. We went down the road, which was sort of like the yellow brick road, and a hiking couple told us we were going in the wrong direction and sent us back to a highway. When we arrived at the school, I went in first, loosing Mark and our friend, which nagged at me for the rest of the dream, and someone tried to call the department, with no luck. But then a student from the area walked by, and took me upstairs. I was going to see if I had time to go home and get the samples, when we walked into a huge room full of students, sitting waiting for me. The instructor introduced himself and I told him I had nothing with me, no samples, no images, but I thought I could talk to them anyway and keep their attention. Maybe this doesn't sound like a nightmare to you, but I do alot of preparation before talks and workshops, and I was totally upset and sweating. Then suddenly I realized they had a digital projector and I remembered that my blog had a link to my slideshow, and I could show that--and that is when I woke up.

My first degree is in psychology, maybe I thought if I studied it I would find out why I never dreamed (yes, I know about waking yourself up in the middle of the night, with a little pad of paper next to you and immediately writing down the dreams, and then one starts to remember)--so when I have a dream that I remember it is an occassion, and I do dwell on it. I see there are overtones of the talk I did last Saturday at BigTown Gallery--where Holly Walker and I each spoke about our work practices and the work in the gallery to a wonderfully receptive audience. Instead of the usual dark room and slides, I had the wonderful light pouring in the windows and clear views of the people I was talking to, and they could see me! The talk went well, Holly was terrific, and though I was nervous to begin with, it was a wonderful experience. Much like my dream.

The other part, probably the cause of the nightmare, is that I have been trying to create a website for myself (and once I did that I was going to do one for Mark). I have been reading a book on Dreamweaver CS3, and watching tutorials on the computer, and reading code everytime I open a webpage. Did you know you can go to View>View Source and you will see the code for this page, or any page that you are on? It is a new language for me--and I guess I would say I have gone from intro level to basic level. In other words, I do understand some of what I am seeing, but not enough for a conversation--certainly not enough to make a webpage with lots of images that transition smoothly from one to another. In my head I understand, but in front of the blank computer page, I am stymied. Two nights ago I was up until 5:30am trying to understand this stuff. Yesterday I was a statue frozen in front of my screen until late afternoon, when Holly called with her own computer melt-down and I went out to act the hero. How wonderful to finally have a part of the day where I knew something, instead of being in this limbo place of understanding/not understanding.

I have decided that I am going to put the website on hold for now. In a few weeks I am going to a workshop where they will talk about web design, and hopefully they will be able to offer advice that will get me going. I know if I wanted to devote the next month or two to just learning this on my own, I could do it. I need more books, and I probably could use some other software, but then if I am doing that, what about my weaving? So the nightmare has helped me have a sense of priorities. I am going back to the loom, and begin this series of work that I have been planning. And if I need someone to see my work online, well, here it is, right in this blog--just go to the right hand column and click on the image in the slideshow and it brings you to the slideshow in a bigger format.

Thank goodness for nightmares. Oh, the code below is actual code from the last blog I posted. And now I am thinking that I am going to weave code. I especially like it when it has color, like the one above.

Code from my last Blog post

New Book by Alice Schlein

2010-01-25T16:30:00.006-05:00

New Book by Alice Schlein

I was thrilled to get Alice Schlein's new book, The Liftplan Connection, this week. Alice and I wrote The Woven Pixel together, which was a wonderful experience, learning from each other as we offered information to others. I knew I would want to use her new book, so I started preparing a few weeks ago. I wound a cotton/linen warp and put it on my AVL dobby loom. My loom had been taken apart for quite some time, and when we moved to Vermont Mark and I got it mostly assembled, but it has sat quietly, taking up space, for the year and a half we have lived in this house. It is so nice to have an inspiration that made me want to use this loom again.

What I have done is threaded the loom on a 24-shaft straight threading, and first I am weaving plain weave (all those harnesses for plain weave!) to make curtains for Mark's studio. Then I can use the remaining warp to do studies using Alice's book, and then I can tie on a new warp and do some other work.

I fell in love with this loom when I first saw it--and I still think it is one of the prettiest looms around. But I have hardly used it in the almost 20 years that I have owned it. I remember early on, complaining to a senior member of the AVL team about threading the loom, how difficult it was for me, and his response was, don't you put on 200 yards and just weave, then tie on a new warp? I guess this was their intention, a loom for production weavers, but at that time I was usually making 3 or 4 yard warps, each different for my work, and usually threaded differently too. So no, I couldn't put on long warps and when done tie to it. In hindsight maybe I should have realized that this wasn't the ideal loom for my needs and just loved it far afar. But I didn't, I bought it, and have dragged it around the country with me, taking it apart each time, putting it back together, just to have it sit idle, but pretty.

I have tried to sell the loom on and off, right now it is on, and just after I threaded the loom (still a struggle, I just don't enjoy that aspect of working on this loom) I got a call from someone who might be interested. I have just started weaving and I do think the action is fantastic--so light to lift 12 shafts, and everything is working smoothly. I have a compu-dobby box for the loom, but since I am doing plain weave, I am leaving the manual dobby attachment on the loom until I have a need to do fancy designing in the lift plan. Even then, I might just peg some designs before switching out the dobby boxes. Meanwhile I am reading Alice's book and thoroughly enjoying it.

The book is not a replacement for The Woven Pixel. We have information in there for dobby looms, but not as much as for jacquard design. This book deals exclusively with dobby design and also it has more information on Photoshop Elements than in our book (though it is in there too). Personally I would recommend that all weavers have both books on their shelves.

AVL Dobby Loom

24-shaft compudobby,

currently set up with manual dobby

I got some offline comments from friends about my discussion about functional work versus my art work. I want to make it clear that I did not say anything about good, better, best in my comments. It was not a value judgement--but I definitely think the two types of work demand different ways of thinking and acting by me, and it was those differences that I was referring to.

Some Finished Projects

2010-01-14T20:25:00.003-05:00

Modelling both sides of Knit Hat

The days are still short, but I can feel them growing, which encourages me to get some work done. Making mental lists of what I need to do the next day is also helping. I finished my hat and have worn it with great satisfaction. It is comfortable, but when the wind blows it still penetrates all those layers over my ears. I saw a friend's knitted gloves, which had a soft flannel-like lining, which makes sense with the open stitch of knits, but it is too late to try and do something like that with this hat. I won't say next time because I doubt if there will be another one.

Roll of hand towels on front beam and finished on right

I also finished my hand towels--well, sort of. I was starting to worry that the roll was getting so big I would not be able to wind any more on the cloth beam, but it never got that big. This morning I stitched between the towels and cut them apart, then washed them in my washing machine and dried them in the dryer. I was worried about both processes but since these are intended to be functional, they have to function properly--which means getting thrown in the wash. They shrunk about three inches in the length and an inch in the width. Even before washing I realized I had made them smaller than I intended. I just measured a finished towel that I like and found it to be 30 inches by 18 inches, while my towels are ending up at about 22 inches by 13 inches. I am still in the process of sewing under the hems, but a few towels are finished and folded.

I want to be clear about this work that I am doing. One of the reasons I am still a weaver, after 41 years (how is that possible when I am only in my 30's?), is that there are so many ways of working as a weaver that it is impossible in one life time to cover them all. I think I told you this already, but maybe not. I began to weave with the intention of taking this skill to a commune--and in the commune I would weave whatever was needed. There was no intention of being an artist, nor, at that time, did I even realize that weaving could be an art form. Later, when I lived in Guatemala and studied brocading on backstrap weaving, I was entranced by the figurative motifs, sometimes abstracted, used by the Mayan weavers. And when I did my senior fiber studio for my BFA at the University of Kansas (which still has an excellent program), and began the body of work that started my reputation as a weaver, I used the brocading process to tell my own stories. Here and there, over the years, I have woven a scarf, or some dishtowels, but I have never seriously undertaken the work of a functional weaver. I have certainly admired other weavers who work this way, and right now I am testing the waters, seeing if I have the skills to make textiles that I would want to use in my own life.

Detail of a drawing by Bhakti Ziek

It is not an all or nothing proposition for me, more an addition to an already crowded room. I have an exhibition coming up in the Fall of 2010, and I want to do a new body of work specifically for the gallery space involved. At the same time, i want to keep going with my exploration of functional textiles, using several of my floor looms. I am not sure if I can actually balance several projects at once, but my idea is to devote one day a week, or perhaps part of each day, to weaving curtains for Mark's studio, scarfs for sale, and getting the hand towels right. The majority of my time will be focused on the work for the exhibition. I have an idea of a very long weaving, segmented, but linear, and have started some drawings, a detail of which is shown above. So it is good that some projects are done, clearing a space for new ones to start.