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the MAIWA BLOG

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Part 1 - Presentation
Gasali Adeyemo


In this lecture master craftsman Gasali Adeyemo opens the evening with a description of his early life in Nigeria and tells how fibre art came into his life. As a participant of the Nike Centre for Arts and Culture, both as a student and later as a teacher, Gasali encountered a range of traditional crafts. He gives a description of the famous adire techniques and illustrates how they relate to Yoruba culture.

Recorded at the 2007 Maiwa Textile Symposium on October 25, 2007
Posted May 2009

The adire eleko (starch-resist) cloths of the Yoruba are immediately identifiable by their hand-drawn patterning and unique symbolism with its wealth of proverbial meaning. The lines, traditionally drawn with a quill, give these cloths the characteristics of a large illustrated canvas.

The adire oniko (tied resist) is often used as a woman’s wrap. Small wraps are first folded then tie-dyed to create spiral designs. One special variation, known as the etu (guinea-fowl pattern) is so prized that when untied it is neither washed nor ironed.

Gasali Adeyemo

Gasali Adeyemo grew up in Ofatedo, Nigeria, where he put himself through high school by sketching portraits at social gatherings. He studied for six years at the Nike Centre for Arts and Culture and then remained an additional four as a teacher.

In 1995 Gasali exhibited his textiles in Bayruth, Germany, and his international reputation was born. A participant in the Iowa Color Congress 2002, the World Batik Conference, and Fiber Arts Center, Gasali has made it his life’s work to give workshops, presentations, and lectures in order to communicate the beauty of adire textiles and share the Yoruba culture
Sunday, May 31, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Natalie Grambow

Canvas is for artists, and an unstretched canvas is an open invitation for the surface designer to begin exploration. Using combinations of mixed-media, fabric paints, and succulent colour palettes, students will engage the canvas surface through altered art techniques, image transfer, collage, and deconstruction.

In this highly creative workshop, suitable for both the novice and experienced artist, participants will be guided through the steps of making an art cloth. The workshop will explore a number of pattern-making techniques, including block-printing, mono-printing, hand-painting, stencilling, screen-printing, and scratching. In addition, collage and piecing with image transfers, over-“inking,” antiquing, washes, and finishing will be covered. Students will complete several inspiring projects, including a finished art cloth.

The finished works can be used as floor coverings (floorcloth), wall mounted in traditional frames, used as table runners, hung as posters, or combined into other projects.


NATALIE GRAMBOW

Natalie Grambow has an extensive background in design, teaching, and textile arts. An accredited Interior Designer, she spent many years in Ottawa working within the architectural design field and teaching Design Theory. Natalie’s first deep exploration of textiles began during her Visual Arts/Photography studies at the University of Ottawa when she experimented with non-silver techniques of transferring photographic imagery onto cloth. She subsequently studied at the École d’Impression Textile à Montréal and later travelled to Asia and Latin America where she spent six months learning to weave with local Mayan weavers in Guatemala. Shortly after completing the Textile Arts program at Capilano College in 2001, she was awarded the BC Craft Association’s Award of Excellence. Natalie has developed a line of naturally dyed and printed fabrics and has been commissioned by such clients as the city of North Vancouver (to present an artist’s vision of North Vancouver on fabric).

Friday, May 29, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Carol Soderlund

Colour Mixing for Dyers is the most thorough and advanced workshop available on fibre-reactive dyes – a full five-days. Students work toward a high skill level that allows them to create the perfect hue each and every time.

Explore the unlimited number of hues possible by mixing only pure reds, yellows, and blues of Procion MX fibre-reactive dye. Teams of students will use different sets of primaries that, when mixed, will yield hundreds of colours in a wide range of values. Sharing the results, each student will build a sample book of more than 1,000 dye swatches and their recipes on 100% cotton fabric. This book will become an invaluable reference for future dyeing. Using the sample book as a guide, each student will apply the basic techniques of dyeing, including dyeing value gradations, over-dyeing, and low-water immersion, to do further exploration as time allows. With this hands-on approach, students will come to understand colour theory in a three-dimensional model that goes beyond the colour wheel.

This course is a wonderful foundation for wearable artists, quilters, needleworkers, weavers, and dyers of cellulose fibres and silk, or for anyone who wants to learn more about the interactions of colour. Carol joins us from the United States.


CAROL SODERLUND

“My work is primarily driven by a passion for colour interactions, the illusions they create, the luminosity they can bring to a surface. I love creating my own palette of fabric through painting, dyeing, and other surface design processes including discharge, shibori, stamping, screening, and foiling. My goal in design is to have a piece that intrigues the viewer at first glance and then continues to reveal surprises upon every inspection.”

Carol Soderlund’s works have been exhibited nationally and internationally since 1985 in such venues as Visions and AQS shows and have received numerous awards, including Best of Show at the 1989 International Quilt Festival and Best Use of Color at the Pennsylvania National Quilt Exhibition 2000. She has taught colour, fabric dyeing, colour-mixing techniques, and quilting throughout North America and is currently working on a book on these subjects.

Thursday, May 28, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Rene Evans

Felt is one of the oldest known forms of manipulated fibre. Felting appears coincidental with animal husbandry and produces a range of items from clothing and toys to sculpture, tents, and even industrial tools. Often an art and tradition of nomadic peoples, felting is making a worldwide resurgence and is gaining recognition.

In this two-day project-oriented workshop, students will explore the many aspects of felt, from three-dimensional hats, boots, and bags to warm felt coats and lightweight, gossamer “nuno” felts. Students will learn basic feltmaking techniques by creating a sample binder of felts of different weights and felts from different wool fibres. Students will select a final project which can be a 3D project (such as a hat, bag, boots), flat felt yardage, or “nuno” yardage (such as scarf or vest fronts). The techniques learned in the workshop can be applied to all felted projects.


RENE EVANS

Born and educated in New Zealand, Rene Evans has always had a love for fine wools. But it was not until she returned to weaving in 1995 that she developed a deep love and appreciation for the art of feltmaking. In 1996 she was introduced to the Fashion Design Program at University College of the Fraser Valley (UCFV). In January 2001 she became the Weaving instructor within the Fashion Design Program at UCFV. From 1997 to 2002 Rene Evans served as the Exhibits Chair for Convergence 2002 Vancouver and sat as a member of the Steering Committee.

Wednesday, May 27, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Venessa Bentley

This was one of our most popular workshops last year. Knitting then felting fabric in the washing machine continues to provide exciting opportunities for design and embellishment. During this three-day workshop participants will complete two very different felted bag structures – one squared-off and based on a garter-stitch rectangle, the other rounded and knit from the top down. Both provide ideal backgrounds for embellishment and stitch patterning. Techniques explored in this workshop are entrelac and mitred squares, embellishment – including beads and needle felting – and shibori.

On day one at the Loft, participants will work on the basics of felted knitting, produce both structures of the bag, and explore stitch pattern techniques.

Day two takes place at Maiwa East where knitting will continue while the washing machines are put to use to felt (through the fulling process) the completed pieces.

On day three we return to the Loft to embellish the knitted and felted pieces using additional knitting as well as needle felting with a variety of fibre, stitching, and beading.

Only very basic knitting skills are required for this workshop.

VENESSA BENTLEY

Venessa Bentley grew up knitting and stitching and now works as an instructor, designer, and consultant in the needle, fibre, and textile arts. Venessa graduated from the Textile Arts Diploma Program at Capilano College. She also holds a Bachelor’s Degree, a Post Baccalaureate Diploma in Fine Arts Education, and a Professional Teaching Certificate from Simon Fraser University. She is currently working on her Master Spinner certificate through Olds College, Alberta. Venessa serves on the Board of Directors for Circle Craft and is a member of the Langley Weavers and Spinners Guild, the Canadian Guild of Knitters, the Westcoast Knitters, the Knitting Guild of America, and the Surface Design Association. She works from her own studio and the Working Hands Fibre Arts Studio on Granville Island.

Tuesday, May 26, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Nicole Chazaud

In four days students will learn how to design and make coordinated felt fabrics for interiors.

Day one begins with colour theory. Based on over twenty-five years as a commercial colourist working in the textile industry and as a fibre artist, Nicole shows students how to identify and work with harmonious colour combinations. The second day presents a range of pattern and motif used throughout history on decorative objects. The focus will aid the student-designer to stylize an object for the sake of design and reproduction. Exercises illustrate repetition and classic composition formats. On the third day the class will design three coordinating fabrics. Working from sources of inspiration, students will establish the design in small format on paper, then lay out their fibre for each project. The class will learn special techniques for upholstery-weight patterned felt. On the fourth day everything comes together as the students felt their three pieces.

Nicole, who joins us from New York, uses class discussion and critiques as an extremely stimulating mechanism of discovery, both for the student and the class. She takes a positive and nurturing approach, explaining and/or observing each student’s process. The goal is to reinforce the positive and make suggestions towards other interpretations of the exercises.

Previous (wet) felting experience necessary. Students will felt using traditional wet flat-rolling techniques.

NICOLE CHAZAUD

Nicole Chazaud is an award-winning surface designer. She brings over 25 years of experience in the commercial textile industry and the decorative arts and interior design fields with focuses in high-end residential specialty fabrics and rugs. As a designer, her passion is interpreting elements found in nature into simple sophisticated designs. Her attention to details like mixing and combining textures and varying the scales of coordinated patterns and interior elements is the trademark of her style and reputation.
Monday, May 25, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Natalie Grambow

Here students will obtain a comprehensive understanding of resists, what advantage each might have, what effects can be obtained, and the proper techniques for manipulating fabric, colour, and resist. This course is an ideal introduction to resist as a vital element of surface design.

The class will work with fibre-reactive dyes, fabric paints, discharge agents, and water-based paste resists including flour paste, potato starch, corn dextrin, and devore. Students will also study a variety of pre-made resists such as wax emulsion, Presist, Sabra-silk, gutta, glue gels, and puff pigments (to create puckered effects).

A portion of time will be spent on the creative potential of crackling effects and application techniques such as stencilling, direct hand painting, block printing, silk screening, and tjanting.

Finally, students will study hot wax resist and a range of Shibori resists including pole-wrapping clamped resist and stitch-bound resist.

Students will complete the workshop with many samples showing a variety of techniques and effects. A final project will also be completed.

NATALIE GRAMBOW

Natalie Grambow has an extensive background in design, teaching, and textile arts. An accredited Interior Designer, she spent many years in Ottawa working within the architectural design field and teaching Design Theory. Natalie’s first deep exploration of textiles began during her Visual Arts/Photography studies at the University of Ottawa when she experimented with non-silver techniques of transferring photographic imagery onto cloth. She subsequently studied at the École d’Impression Textile à Montréal and later travelled to Asia and Latin America where she spent six months learning to weave with local Mayan weavers in Guatemala. Shortly after completing the Textile Arts program at Capilano College in 2001, she was awarded the BC Craft Association’s Award of Excellence. Natalie has developed a line of naturally dyed and printed fabrics and has been commissioned by such clients as the city of North Vancouver (to present an artist’s vision of North Vancouver on fabric).
Sunday, May 24, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Marcelina Charri, Maria Lima, Fernando Alvarez

Marcelina Charri and Maria Lima join us from the Andean highlands to explain the secrets of working with rare fibres. The workshop will cover carding, spinning, plying, and the creation of blends. Each blend has its own character. Some are best made during the carding stage while others need to be plyed. Students will work with qiviuk (the downy undercoat of musk ox), silk, alpaca, cashmere, and fine merino.

In addition to yarn creation, students will pick up specialized assistance in knitting with these fibres. Together with Fernando Alvarez (owner of Qiviuk Boutique), Marcelina and Maria have worked for years to solve the technical challenges of creating rare fibre yarns that can be successfully used in knitting. Short of going to Peru (and catching Fernando when he is not in the Arctic), this is the only opportunity to study with this group.

Why work with these fibres when they are expensive and challenging? The answer is simple: because they behave in a way that nothing else does. A qiviuk sweater will be one-third the weight of the same pattern in cashmere. It is like knitted air. Working with rare fibres rewards patience as a relationship develops between the fibre and the person. The personality of both shine in the final creation.

Prerequisites: experience spinning on the wheel and basic knitting skills. Each student will be required to bring their own spinning wheel for the class.
Fernando will also give a lecture on Friday October 23.
Saturday, May 23, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Jawaja Leatherworkers

[Editors note: this workshop was canceled due to the visa denials.]

Leatherworking is one of the oldest trades in the world. In India groups have preserved and maintained techniques very much based on manual skills. Working only with a variety of small tools, the Jawaja leatherworkers make everything from shoulder bags to change purses. Their historic specialty was the manufacture of harness work for the calvary.

In this workshop students will work alongside master craftspeople, the members of the Jawaja group who have travelled from India. Participants will learn to control leather in a way that takes advantage of its strengths and natural beauty. Skills will be developed as they work on a variety of small projects.
Friday, May 22, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Ashoke Chatterjee

The evolution of markets can affect the lives and well-being of millions. The global meltdown has brought this fact into sharp relief. Its implications are particularly severe for millions of artisans worldwide for whom the reality of highly competitive markets was challenging enough before crisis overtook the world economy. Now, their life on the edge is threatened even further.

So what will happen to livelihoods that are entwined not just with market realities but equally with the complexities of cultural, social, and political change? What market shifts can we assist that can help sustain not only earnings but also the cultures and identities of peoples?

In this workshop, Ashoke Chatterjee will help participants to explore this practical challenge using real-life marketing and research experiences from South Asia. The workshop will consider the current craft crisis as well as craft opportunities at a time when economic stimulus must take the ‘growing green movement’ into account, and it will explore ways to empower those who have been left far too long at the margins of society. This workshop is very useful for those working in development, trade, economic revitalization, or rural recovery. Mr. Chatterjee joins us from India.
Thursday, May 21, 2009 No comments

2009 Maiwa Textile Symposium
Workshop
Instructor Henri Lambert

Historically the French referred to woad not as a dye but as an ennoblement – for they believed that its subtle shade gave the cloth great dignity.

In this workshop students will have the opportunity to work with European woad specialist Henri Lambert. The class will discover the biology of isatis tinctoria or woad, a remarkable plant whose leaves provide pigment and whose final flowering stage yields seeds which can provide essential oils. Medieval dye processes will be explained with descriptions of the harvest of the plant, the preparation of the leaf compost, and the method by which ancient vats were maintained.

Students will learn how to start a mother vat with woad and how to troubleshoot specific problems that can occur. Dyeing procedures specific to the use of woad will be explored in detail. Students will have the opportunity to dye natural fibres.

DENISE & HENRI LAMBERT

Inspired by both the colour and the plant, the Lamberts created Bleu de Lectoure in 1994. Soon their lives were given up to woad.
It took more than two years working with chemists from the University of Toulouse to uncover the original fermentation, extraction, and dyeing processes. In an antiques store one day, fate helped them out. They stumbled upon a notebook that belonged to Napoleon’s chemist.

The couple, driven equally by curiosity and a desire to collaborate, has big plans for woad. Today they partner for research and for farming of the woad and have an industrial unit able to process up to 20 tons of leaves per day.

The farmhouse contains a gallery and store. In the historic hill town of Lectoure and in the larger centre of Toulouse, exclusive shops sell Bleu de Lectoure fashion designs, scarves, hats, decorative items, creams, and soaps. Together with their partners they have developed quality essential oils for use in cosmetics and skin care products, plastics, and a wide range of paints.

Wednesday, May 20, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Bappaditya Biswas, Stephen Huyler,
Linda Cortwright, Charllotte Kwon, and Sheila Paine


Each member of our panel has carved a road in the wilderness. It is not easy to walk off the map, but they have all done it, struck out alone to follow a path as unknown to themselves as it was to others.
And then something happens ...

As Charllotte puts it, “At a certain point there is an incredible feeling of freedom and you are able to see the whole world as your workshop.”

Join Bappaditya (weaver and entrepreneur), Stephen Huyler (anthropologist, photographer, and writer), Linda Cortright, (journalist and magazine publisher), Charllotte Kwon (owner of Maiwa and documentary filmmaker), and Sheila Paine (explorer and author) as they present a variety of approaches to both travel and travel documentation. The day will begin with formal presentations but will have a relaxed, open format.
Tuesday, May 19, 2009 No comments

2009 Maiwa Textile Symposium
Workshop
Instructor Bonnie Adie


Are you a textile enthusiast wanting to add stitch for embellishment? If so, this is the workshop you won’t want to miss. The stitches you’ll learn are those that are known across Europe, the Americas, and Asia. They have passed between families and persisted for generations.

This fast-paced workshop will introduce a long list of traditional embroidery stitches. As the class progresses, emphasis will shift to variations and combinations of these stitches with experimentation leading to a means of personal expression. For those interested in shisha mirrors, we will study the art of attaching mirrors to fabric with thread.

Threads will be available in a variety of weights and textures. A variety of background materials will also be available to try. The class will make small samples that can be placed in a book along with documentation for future reference. Students will leave the workshop with the confidence to add embellishment to their work and to create textures and patterns allowing for self-expression in thread.

Bonnie Adie

Bonnie is inspired by the dialogue between traditional and contemporary embroidery techniques. She is also captivated by the potential dynamics of thread textures and backgrounds. Bonnie has completed the Master Craftsman program in crewel embroidery from the Embroiderers Guild of America and the City & Guilds of London Creative Embroidery and Design with Julia Caprara and the Opus School of Textiles.

Her work has been exhibited in various galleries in British Columbia, England, and the United States. She is involved with the North Shore Needle Arts Guild and the Vancouver Guild of Fibre Arts and assisted in forming Arrowsmith Needle Arts. Bonnie was also a member and treasurer of fibreEssence.


Monday, May 18, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Morimoto Kikuo


Under the Khmer Rouge almost all of Cambodia’s traditional culture was wiped out. A great poverty of information resulted – everything from basic farming to textile dyeing and weaving techniques was lost. Yet, at one time Cambodian textiles were the envy of Southeast Asia.

It became the goal of Morimoto Kikuo to search for the last seeds of knowledge and to replant them. The result is a revival of Cambodian traditional knowledge and the founding of a self-sufficient village where all dye and weaving resources may be found on site. This workshop provides an opportunity to meet and work alongside Morimoto Kikuo as he instructs the class in the use of natural dyes and their application to Cambodian silk ikat. Students will gain direct technical knowledge but also learn some of the history and philosophy behind the remarkable Institute for Khmer Traditional Textiles. Morimoto Kikui joins us from Cambodia.

Morimoto Kikuo

Morimoto Kikuo was born in Kyoto, Japan, in 1948. In 1975, after a five-year apprenticeship, he started his career in yuzen, the Japanese textile technique of painting and dyeing kimono fabric. In 1980 he made his first visit to Bangkok where he discovered Khmer traditional silk ikat textiles at the National Museum.

In 1983, Morimoto moved to Thailand to serve as a volunteer in refugee camps in the northeast. In the following years he worked encouraging natural dye traditions and in 1990, as a collaborating researcher for The Textile Museum (Washington, DC), he compiled a report entitled “Traditional Dyeing Methods in Northeast Thailand.”

In 1995, Morimoto was asked by UNESCO Cambodia to serve as a consultant for the revival of traditional silk weaving. He remained in Cambodia where he started another project, this time to raise silkworms in Takaor village, Kampot province.

In 1996, Morimoto founded IKTT (the Institute for Khmer Traditional Textiles) in a suburb of Phnom Penh. Four years later the Institute moved to Siem Reap and added a workshop for weaving and dyeing with the goal of enabling elder craftspeople to hand on their skills to younger generations.

In 2002, Morimoto purchased five hectares of land north of Angkor Wat to begin his next project, the establishment of a self-sufficient weaving village. He now lives and works there as he oversees a project named “Wisdom from the Forest.” The village grows locally everything needed (dyes, cotton, silk) to create traditional Camodian Ikat. In 2004, Morimoto received a Rolex Award for Enterprise.

Bibliography

Bayon Moon: Reviving Cambodia’s Textile Traditions
Thursday, May 14, 2009 No comments


At Maiwa East

Treasures 
carried across the 
deserts of INDIA

each bed
every table 
a verse carved
in wood

with astounding detail 
and ornament
or
clean and simple
as a pencil line

Come visit
open our doors 
and see what has arrived.


How to find us.

Open Thursday - Saturday 10am - 5pm
Sunday 11am - 5pm
Wednesday, May 13, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Michel Garcia


Michel Garcia joins us from the Botanical Garden of Dye Plants in Lauris, France, to share some special techniques for dyeing and printing with extracts.

Some of the difficulties of using powdered dyestuff (such as a high concentration of madder root on wool) can be avoided altogether if the dyer makes an extract. An extract also presents a wealth of opportunities as it can be applied directly to a piece. In this workshop students will make different soluble extracts and use them to dye wool both as a primary colour and as the basis for a second over-dyed colour. The class will use extracts to print directly onto cotton using blocks and paintbrush. A variation will be presented that permits printing with indigo.

Printing with extracts can be expanded to mordants and mordant/dye combinations. Thickening techniques will be covered so that the student learns to make the dye the right consistency for the technique.

There are many possibilities for creating an indigo vat with natural indigo. Generally speaking, the natural ways using compost leaves or fermentation are difficult and slow. During this workshop, some new possibilities for making a natural vat will be presented using henna, dates, figs, or grapes as reagents. Students will be able to easily establish a fast natural vat that can be used to dye any natural fibre.


Michel Garcia

A French national born in Morocco, Michel Garcia was nineteen when he first discovered natural dyes. Since then he has followed his love of both plants and pigments. In 1998 he formed the association Couleur Garance (Madder Colour). The association hoped to connect young ecologically sensitive artisans with the substantial expertise of an older generation of dyers. Under his direction, Couleur Garance produced over twenty monographs on natural dyes and dye plants.

In 2002 Michel founded the Botanical Garden of Dye Plants at the Château de Lauris. In 2003 an international forum and market for natural dyes was added. A year later a resource centre was established.

In 2006 Michel handed over leadership of Couleur Garance so that he could further pursue his interest in colour and dye techniques. He has published three titles on natural dyes showing the range of shades available and how to obtain them.

Bibliography

De la garance au pastel, le jardin des teinturiers

Couleurs végétales: Teintures, pigments et encres

Plantes colorantes, teintures végétales



Wednesday, May 13, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Nilda Callañaupa Alvarez


Men’s knitted caps are in common use in many indigenous communities in the highlands of southern Peru and Bolivia. The shape of the caps varies from one area or community to another, but usually they are pointed at the top, and often they have earflaps. Typically they have multicoloured designs similar to the weaving designs of the region. They are worn instead of or underneath European-style brimmed hats. In some communities the women knit, while in others it is the men. Usually very thin needles are used, made of wire or bicycle wheel spokes, and the work is correspondingly fine.

The technique used by indigenous knitters in the Andes today has a number of features that are unlike modern western knitting techniques and that probably represent older techniques now no longer used.

Nilda joins us from Peru to teach this one-day workshop in the indigenous techniques of Chinchero knitting.

Basic knitting skills required.

Nilda Callañaupa Alvarez

Nilda Callañaupa Alvarez is an expert weaver who has travelled extensively to teach and give presentations at Harvard, Cornell, the University of Vermont, Brown, the Textile Museum in Washington, DC, and other institutions. Her expertise is recognized by international scholars of Inca textiles and culture. Nilda joins us from Peru.

Nilda is the founder and director of the Center for Traditional Textiles of Cusco. She has established weaving associations throughout the Andean highlands to preserve a splendid tradition of fine handmade textiles and to promote economic development. She has appeared in documentaries as a spokesperson for her culture. Nilda’s weavings have been exhibited in Peru, the US, and elsewhere. Nilda lives in Cusco, Peru, with her husband and two children. Visit the centre at www.textilescusco.org.

Tuesday, May 12, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Nilda Callañaupa Alvarez


“The process of weaving is a reflection of the weaver’s daily life. Each of her weavings contains her own history, from the saddest to the happiest moments.”
– Nilda Callañaupa Alvarez


Traditional Andean weaving is done on a backstrap loom, known in Quechua as an awana. The design of this loom has not changed since pre-Incan times. It is semi-vertical and is used to weave warp-faced cloth. It is a simple set-up, easy to begin working with, yet with considerable potential to challenge the weaver.

Outsiders who encounter the textiles of the Peruvian highlands can’t help but wonder how weavers learn the intricate hand skills necessary to do this work or how they hold the complex patterns in their minds. This workshop will reveal these wonders in an intimate class setting. Nilda Callañaupa has mastered the Andean weaving techniques and is the founder of the Center for Traditional Textiles of Cusco in Peru.

Nilda Callañaupa Alvarez

Nilda Callañaupa Alvarez is an expert weaver who has travelled extensively to teach and give presentations at Harvard, Cornell, the University of Vermont, Brown, the Textile Museum in Washington, DC, and other institutions. Her expertise is recognized by international scholars of Inca textiles and culture. Nilda joins us from Peru.

Nilda is the founder and director of the Center for Traditional Textiles of Cusco. She has established weaving associations throughout the Andean highlands to preserve a splendid tradition of fine handmade textiles and to promote economic development. She has appeared in documentaries as a spokesperson for her culture. Nilda’s weavings have been exhibited in Peru, the US, and elsewhere. Nilda lives in Cusco, Peru, with her husband and two children. Visit the centre at www.textilescusco.org.

Bibliography

Weaving in the Peruvian Highlands:
Dreaming Patterns, Weaving Memories
Monday, May 11, 2009 No comments
Project Dhamadka got another boost on Saturday at the Bowen Island Ajrakh Auction. Organized by Mariana Holbrook, Judi Gedye and Maiwa Handprints, the auction raised over $7000. Thanks to all the volunteers who helped display textiles, provide food, track bids and make this event such a success.

It was a beautiful setting at the Cates Hill Chapel. Auction pieces included clothing, jewelry, embroideries, and quilts. Exhibition quality, double-side ajrakhs, were donated by the Khatri's and the other pieces were donated by Maiwa Handprints to raise money to help relocate the traditional blockprinting community of Dhamadka. The Maiwa Foundation would like to thank everyone who came out.

The Bowen Island newspaper, Undercurrents, ran two stories leading up to the auction. They are linked here. The first ran on April 30 and the second ran on May 8, 2009.
Monday, May 11, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Betsy Sterling Benjamin


Author and master rozome artist Betsy Sterling Benjamin arrives from New Hampshire to teach this course in Japanese Batik. Rozome has caught the interest of fibre artists from around the world. This course gives an overview of traditional techniques and allows you to consider applying them in your own creative work. For those new to the Japanese techniques, a number of traditional wax and dye application methods are introduced. These include Sengaki (wax drawing), Hibi ware (wax crackle), and Shikibiki (wax trailing) as well as brushing, rolling, sprinkling, stamping, and stencilling wax. Students will use both traditional and contemporary tools and materials. The use of soy wax provides an exciting variation.

In addition, the course introduces Japanese dyeing techniques such as bokashi, the controlled dye shading that produces such luminous results on silk. This class is ideal for silk painters, fibre artists interested in resist techniques, and those fascinated with Japanese textile techniques. Demonstrations of all processes, historical background, and slides and video of contemporary work being produced in Japan and abroad are included. Daily concentration practices will also be part of the class.

Betsy Sterling Benjamin

Betsy Sterling Benjamin is an award-winning international artist, researcher, and author specializing in Japanese textiles. Her book The World of Rozome: Wax Resist Textiles of Japan (1996, 2002) is the first book in English on the topic and is a classic on the fine art of wax resist.

She has lectured on Japanese costume and wax-resist textiles at the Smithsonian Institution, Oxford University, Harvard Graduate School of Design, and the Japan Foundation, Kyoto. She is the coordinator of the World Batik Conference–Boston 2005 at Massachusetts College of Art, and curator of “The Rozome Masters of Japan Exhibition” that toured the USA in 2005 – 2006.

For over eighteen years Betsy lived in Kyoto, Japan, where she taught at Doshisha and Kyoto Sangyo Universities, participated in numerous solo and group exhibitions, and wrote on textiles for the Mainichi Daily News and other publications. The recipient of grants from the Japan Foundation, the Sasakawa Foundation, the Daiwa-Anglo Japanese Foundation, and the New Zealand Center for Japanese Studies, she now teaches at Massachusetts College of Art in Boston.

Sunday, May 10, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Michele Wipplinger


For 2009 this very popular workshop has expanded to a full five days.The Colour Institute is devoted to an intense exploration of colour perception, aesthetics, dynamics, theory, and use. Working from diverse historic and cultural sources, this class moves through classical concepts of colour to ideas of contemporary artistic and designer practice. The workshop will conclude with insight into the world of colour forecasting and the development of colour trends.

Michele joins us from Seattle to explain how methodologies such as colour bridging, composition, and creation may be learned and mastered. Colour systems such as NCS and Pantone will be presented. Theories developed by Johannes Itten, Josef Albers, and Albert Munsell will provide the tools to understand the chromatic realm with specific reference to textiles. Students will learn how colour functions in various environments and how it interacts both with other colours and with components such as texture and lighting. The Colour Institute will include exercises with yarns, colour chips, paintings, and drawings. Students will learn how to problem-solve colour mistakes and develop a deep understanding of value and saturation and how these affect finished work. As sessions progress, the focus will shift to student design problems and challenges. Students will apply the concepts of the class to their own work.

This inspired class is a must for designers, artists, or anyone interested in the complex world of perception, meaning, and interpretation behind the use of colour.

Michele Wipplinger

Michele is president of Earthues Inc., an international colour and design consulting company specializing in ecology and the artisan. She has over 30 years’ experience in the field of natural design and ecological process, with an emphasis on natural dyes. She lectures worldwide and creates an exclusive line of silk shawls hand-painted with natural dyes.

Michele has been a consultant in Nepal for the development of colour and natural dye processes for the Tibetan hand-woven carpet industry. She has developed products and consulted on colour for Aveda, Origins, Martha Stewart Living, Esprit, Terra Verde, and Nature Conservancy. Michele is on the Executive Board of Directors for Colour Marketing Group and received the United Nations award for her environmental stewardship on the development of an ecological natural dye process for the American textile industry.
Friday, May 08, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Vivien Prideaux


This workshop begins with the Japanese techniques of shibori (the inventive art of Japanese shaped resist dyeing); combines these techniques with natural fermentation indigo; and then over-dyes the finished work with fibre-reactive dyes. The resulting textures and colours create exquisite and fanciful fabrics of many moods: gossamer soft, delicate, rich, glowing, demure, or vibrant.

Vivien Prideaux arrives from Great Britain to give this inventive workshop. Student will acquire new dyeing skills and the opportunity to be creative with these new skills.

The aim of the workshop is for the student to acquire an introduction to the skills of natural Indigo dyeing with hands-on experience of natural fermentation vats and fibre-reactive dyeing. Students will also explore various methods of resist fabric preparation including shibori and textured fabric.

Students will experience the art of shibori come alive through demonstrations, individual instruction, group work, and presentations.

Vivien Prideaux

Vivien Prideaux works from her garden studio in Fowey, Cornwall, UK. For twenty-five years she has worked as a dyer, embroiderer, freelance tutor, lecturer, and writer. Her passion and commitment to textiles has taken her all over the world, sourcing unusual hand-woven, embroidered, and natural fabrics and traditional dyeing techniques from India, Thailand, New Zealand, Western Samoa, and Japan.

For Vivien, cloth and stitch are a natural means of expression. She uses shibori, indigo, and natural dyes as contemporary techniques of our time, but she also delves into traditional and cultural references to create a wider vocabulary to use in her work.
Thursday, May 07, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Vivien Prideaux


For many indigo dyers, working with a natural fermentation vat is the ultimate achievement of their craft. The fermentation vat has a personality, a rhythm, and, so it seems, a will of its own. When mastered and understood, the natural vat will provide a wonderful satisfaction as it yields both subtle tones and blues of remarkable depth. The natural vat can be maintained ready for use for many months and even years.

Vivien Prideaux has worked with natural indigo all over the world. She arrives from Great Britian to teach this workshop. Vivien will share her passion and traditional knowledge in a structured way, as she demonstrates the preparation and long-term maintenance of both “bio” and “zinc lime,” natural indigo fermentation vats.

Students will prepare natural materials for dyeing using shibori (the inventive art of Japanese shaped resist dyeing), folding, clamping, pleating, and pole wrapping. The resulting fabrics will be stunning!

This workshop is an intense period of work. Everyone is welcome from absolute beginners to experienced dyers.

Through demonstrations, samples, group discussions, one-to-one tutorials, and lectures, students will gain knowledge of the magic that is the fermentation vat.

Vivien Prideaux

Vivien Prideaux works from her garden studio in Fowey, Cornwall, UK. For twenty-five years she has worked as a dyer, embroiderer, freelance tutor, lecturer, and writer. Her passion and commitment to textiles has taken her all over the world, sourcing unusual hand-woven, embroidered, and natural fabrics and traditional dyeing techniques from India, Thailand, New Zealand, Western Samoa, and Japan.

For Vivien, cloth and stitch are a natural means of expression. She uses shibori, indigo, and natural dyes as contemporary techniques of our time, but she also delves into traditional and cultural references to create a wider vocabulary to use in her work.
Wednesday, May 06, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Jean Cacicedo

We all possess a wealth of personal inner resources that can be given shape and form through the creative process of our art-making. This workshop will provide students with the tools necessary to uncover an awareness of their own personal mythology.

Each student will focus on forming ideas, images, and themes for use in their work. These will be accessed through memory, reflection, and conversation and then further developed through a blend of writing, drawing, and paper collage exercises.

Class assignments will incorporate basic design principles that students can apply as they work on realizing designs for a final project. Projects can take on many forms including sculpture and performance.

Supportive critiques and discussions will elaborate on how to better define, develop, and sustain our art-making. This class provides students with a challenging and supportive environment for developing their art. All media interests and levels welcome.

Jean Cacicedo travels from Berkeley, California, to give this workshop.

Jean Cacicedo

Jean Cacicedo received a BFA in Sculpture from the Pratt Institute, New York, in 1970. Cacicedo was a prime innovator in the Wearable Art Movement of the 1970s. For over three decades she has worked on special processes for wool fabrics as well as on works on paper. Known for her “signature coats,” her pieced and sewn, slashed, felted, and dyed constructions have been exhibited throughout Western Europe, Japan, and the United States. In 2000, a 30-year retrospective of her work was featured at the Museum of Craft and Folk Art, San Francisco, California. Her work can be found in the permanent collections of the de Young Museum, San Francisco, Oakland Museum of California, Museum of Art and Design, NYC. She currently works out of her studio in Berkeley, California.
Tuesday, May 05, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Jean Cacicedo

This special workshop, held every year, introduces an unusual combination of approaches to constructing or embellishing cloth. This year Invented Fabric is taught by Jean Cacicedo who has adapted her workshop “The Textured Cloth.” Jean arrives from Berkeley, California, to give this three-day workshop exploring the transformative properties of various cloths. Students will discover how the natural surface beauty and structure of fabric can be distorted to yield new inspiration and potential for both craft and art.

Methods of working emphasize surface and structure through manipulation, deconstruction, and reconstruction. Students use cotton, silk, polyester, and wool fabrics: the differences in fibre content create a range of transformational possibilities. Design ideas will incorporate shrinking, fusing, slashing, and stitching. There will be samples made of all the various techniques, slides to view, and time for creating larger samples for potential use in a garment design. All levels of expertise are welcome. Some sewing will be required.

Jean Cacicedo

Jean Cacicedo received a BFA in Sculpture from the Pratt Institute, New York, in 1970. Cacicedo was a prime innovator in the Wearable Art Movement of the 1970s. For over three decades she has worked on special processes for wool fabrics as well as on works on paper. Known for her “signature coats,” her pieced and sewn, slashed, felted, and dyed constructions have been exhibited throughout Western Europe, Japan, and the United States. In 2000, a 30-year retrospective of her work was featured at the Museum of Craft and Folk Art, San Francisco, California. Her work can be found in the permanent collections of the de Young Museum, San Francisco, Oakland Museum of California, Museum of Art and Design, NYC. She currently works out of her studio in Berkeley, California.
Monday, May 04, 2009 1 comments
2009 Maiwa Textile Symposium
Workshop
Instructor Dorothy Caldwell

This workshop will examine “the stitch” using the traditions of Indian kantha embroidery. Kantha embroidered quilts use the running stitch to form patterns and narrative imagery reflecting the lives and experiences of the makers. Slides, video, and actual examples of Sujuni stitched quilts from Bihar will be used to bring this rich art form to life. With kantha embroidery as a basis and through a series of exercises, expressive aspects of “the stitch” will be explored leading participants toward building a personal vocabulary of mark-making.

Dorothy Caldwell is an active practising artist who maintains an international exhibition and teaching schedule. She travels from Ontario to instruct in the Maiwa Workshops.

Dorothy Caldwell

Dorothy Caldwell is a graduate of Tyler School of Art in Philadelphia and maintains an active international exhibition and teaching schedule. She has carried out research in Japan and India on textile traditions and is the recipient of grants and awards including the prestigious Bronfman Award given to one Canadian craftsperson each year. Her work forms a part of many permanent collections including the Canadian Museum of Civilization, the Carlton and Reta Lewis collection in Washington, D.C., the Canadian Consulate in Bangkok, Thailand, and the American Museum of Art and Design.


Sunday, May 03, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Natalie Grambow


This two-day workshop will focus on a combination of transfer processes that allow students to incorporate photo imagery into their work.

Students will learn methods for the transfer of both black-and-white and colour imagery onto cloth. These include transparent marker, iron-on, solvent, and gel-medium transfers. Students will also learn how to layer, collage, and transfer photocopied images of drawings, text, and photos onto cloth. The final piece will be embellished by hand embroidering, stencilling, and/or blockprinting to create a unique work that exhibits a layered complexity.

Students are encouraged to bring a folder of personal imagery or text that they would like to incorporate into their work. Photocopies brought by the student should be fresh (one day old). An array of inspirational source material will also be on hand.

Natalie Grambow

Natalie Grambow has an extensive background in design, teaching, and textile arts. An accredited Interior Designer, she spent many years in Ottawa working within the architectural design field and teaching Design Theory. Natalie’s first deep exploration of textiles began during her Visual Arts/Photography studies at the University of Ottawa when she experimented with non-silver techniques of transferring photographic imagery onto cloth. She subsequently studied at the École d’Impression Textile à Montréal and later travelled to Asia and Latin America where she spent six months learning to weave with local Mayan weavers in Guatemala. Shortly after completing the Textile Arts program at Capilano College in 2001, she was awarded the BC Craft Association’s Award of Excellence. Natalie has developed a line of naturally dyed and printed fabrics and has been commissioned by such clients as the city of North Vancouver (to present an artist’s vision of North Vancouver on fabric).


Saturday, May 02, 2009 No comments
2009 Maiwa Textile Symposium
Workshop
Instructor Jane Stafford

We were very pleased to get this workshop proposal. The synergy of ideas expressed here inspires us – it’s the reason we hold the symposium. Instructor Jane Stafford explains the motivation for this workshop ...

I have always been so inspired by the exquisite handwoven fabrics that
are produced for Maiwa. They bear witness to the beauty and elegance of plain weave, elegant use of colour, great design, and ingenuity. This workshop has been developed based on the loom-controlled techniques used in Maiwa’s handwoven textiles. They are simple structures pushing the boundaries of plain weave in fine yarns. Students will weave eight fabrics over four days.

Students will need to have basic weaving experience and their own table loom. Warps will be prepared in advance and sent to the students before the workshop. During the workshop students will migrate from loom to loom thus gaining access to a wide variety of structures and weaves.

Students will also receive a variety of weft materials so that they can prepare bobbins.

Prerequisites: Basic weaving knowledge and a table loom.

Note: The weaves that have inspired Jane come mostly from Bengal. Examples may be found in the Maiwa store and in the exhibition On The Banks of the Ichhamati (pg 98). On Sunday October 25 Bappaditya Biswas will give a lecture (pg 28).

Jane Stafford joins us from Salt Spring Island. She has had a loom named in her honour (and designed with her recommendations and input). See the “Jane” loom produced by Louet at www.louet.com/spinning_weaving/jane.shtml.

Jane Stafford

Jane started weaving in 1978 in Thunder Bay, Ontario. Her studies took her to Banff, Alberta, where she studied and taught at the Banff School of Fine Arts. She moved to Salt Spring Island in 1988 and opened her business. Jane Stafford Textiles produces a line of mohair blankets, silk scarves, and chenille stoles. Jane also teaches a variety of weaving workshops at beginner and advanced levels.
Friday, May 01, 2009 No comments

The Maiwa Foundation is taking its auction
to Bowen Island to raise money for
Project Dhamadka

Saturday May 9th at 3:30 pm 
at Cates Hill Chapel.

Join us as we present an afternoon of ravishing textiles. There will be a multi-media presentation and talk by Charllotte Kwon on the Khatri community of traditional blockprinters from Dhamadka, India, and the present water crisis.

The most exciting part of the afternoon will be the live auction of textiles. Exquisite double sided ajrakhs, textiles from the Maiwa Collection, jewellery, and shawls will be sold to the highest bidder.

Please come and support us.

Friday, May 01, 2009 1 comments
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      • African Textiles: The Heart of the Yoruba - Part 1
      • Works on Canvas
      • Colour Mixing for Dyers
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      • Between the Colours: Creative Resist
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      • Rozome: Japanese Batik
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      • Indigo, Shibori, and Beyond
      • Indigo: The Natural Vat
      • Working from the Inside Out: The Creative Process
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      • Weaving in the Maiwa Tradition
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