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Art

Preserved Grasses and Twigs Radiate Outward in Delicately Embroidered Sculptures by Artist Kazuhito Takadoi

June 9, 2021

Grace Ebert

All images © Kazuhito Takadoi, shared with permission

Artist Kazuhito Takadoi (previously) tames the unruly grasses, leaves, and twigs grown in his garden by weaving the individual strands into exquisite radial sculptures. Stitched into paper or bound to wooden discs made of cedar of Lebanon, oak, elm, or walnut, the abstract forms hover between two and three dimensions and utilize traditional Japanese bookbinding techniques to secure the threads. Each artwork, whether an intricately overlapping mass or pair of circular sculptures, is an act of preservation and a study of inevitable transformation: although the materials won’t decompose entirely, subtle shifts in color and texture occur as they age. “As the light changes or the point of view is moved, so the shadows will create a new perspective,” the artist says.

Born in Nagoya, Japan, Takadoi is currently based in the U.K. His meticulously woven works will be on view from June 22 to 29 at Artefact in Chelsea Harbor, and you can find a larger collection of his pieces on Artsy and jaggedart.

 

 

 



Art

Thread Infused with Scent Embellishes Embroidered and Woven Textiles to Stimulate Memories

June 1, 2021

Grace Ebert

“Jasmine I” embroidery on silk organza with jasmine-scented yarn dyed with hibiscus, 
beetroot, indigo, and turmeric, 36 x  54 inches. All images © Pallavi Padukone, shared with permission

Scent, memory, and emotion are inextricably bound together in the human brain, making it possible that a single sniff evokes feelings of delight, comfort, and calm associated with an experience. Pallavi Padukone uses this inherent connection in Reminiscent, a series of 11 fiber-based works infused with naturally derived fragrances, all of which the textile artist and designer equates with her hometown of Bangalore, India.

Part aromatherapy and part nostalgic stimulus, the fiber pieces hang from the ceiling as delicate, sheer curtains that are accessible from all sides. Padukone weaves and embroiders using thread that’s covered in a wax-and-resin substance she developed through trial-and-error. “The testing phase for the coated yarn involved sampling weave structures and embroidery techniques that were best suited for the yarn. I kept a record of swatches as a test of their durability and how long the scent and color last when exposed to heat and light,” she says.

 

“Sandalwood,” handset and machine embroidered sandalwood scented yarn dyed with cutch and beetroot over layered organza silk dyed with cutch, rojo quebracho, walnut, madder, and iron, 13.5 x 15 inches

Infused with clove, vetiver, jasmine, citronella, sandalwood, or rose, the cotton yarns also are hand-dyed naturally, pulling out the golden color of turmeric and rusty tones from cutch and beets to pair with a corresponding aroma. “It’s ironic that I happened to choose scent during a time when wearing masks is the new normal,” Padukone tells Colossal. “While the beauty of olfactory art is that it has to be experienced in person, I use textiles, patterning, and color as a way to visually represent my depiction of the fragrance’s personality.” A yellow and green patchwork, for example, emits the grassy, lemon-like aroma of citronella, while sweet, musky sandalwood is paired with thick, abstract coils of yarn on sepia-toned silk.

Although the scents are embedded in many of the works, tiny accessible pockets cover the undyed organza in “Jasmine II,” ensuring Padukone can replace the flower buds. She’s currently exploring other methods that allow replenishment considering most fragrances last between one and three months. The transience of sent, though, is part of its appeal. She explains:

I find beauty in impermanence and how each textile’s color, structure, fragrance changes over time. In this collection, I have incorporated handspun recycled sari silk and cotton for my weaves and embroider on organza silk. I am drawn to the sheerness of the fabric, the way it interacts with light to visually evoke the ephemeral experience of fragrance.

Padukone lives and works in New York, and you can see more of Reminiscent and other textile-based projects on her site and Instagram.

 

“Citronella I,” handwoven pre-dyed cotton and citronella scented yarn dyed with turmeric, indigo, and chili, 16 x 40 inches

“Sandalwood,” handset and machine embroidered sandalwood scented yarn dyed with cutch and beetroot over layered organza silk dyed with cutch, rojo quebracho, walnut, madder and iron, 13.5 x 15 inches

Photo by Olivia Koval

Photo by Olivia Koval

“Jasmine I” embroidery on silk organza with jasmine-scented yarn dyed with hibiscus,  beetroot, indigo, and turmeric, 36 x  54 inches.

“Jasmine II,” un-dyed silk organza, jasmine buds, 41 x 44 inches

 

 



Design

Light Streams through a Swelling Canopy of Woven Bamboo in China's Karst Mountains

September 17, 2020

Grace Ebert

All images © Lllab.

An understated bamboo canopy situated among the verdant landscape of the Karst Mountains in Yangshuo, China, offers respite from the sun and frequent rainfall that blankets the area. Designed by Lllab. Architects for the outdoor theatrical performance of Impression Sanjie Liu, the curved structure merges seamlessly with the surrounding environment. Bamboo trees line the pathway the canopy occupies as it stretches across 140 meters.

Smaller lanterns are positioned at the entrance to the venue before the larger structure guides visitors to the main performance stage, which sits at the bank of the Li River. The canopy is hand-woven by local craftspeople, who utilize a specific technique that allows the suble form to be made entirely of the organic material without the use of glue or nails. Inside the permeable walls are load-bearing posts.

In a statement about the surging form, Lllab. notes that the architecture mimics the performers’ movements:

The hand weaving, bamboo playing off the tension of one another. The topography of the canopy ceiling dancing between columns of bamboo as if unsupported. Even the way guests are intended to move from lantern to lantern, in a narrative of interaction. Together these subtle hints encourage a particular frame of mind, readying the guest for the main feature.

To explore more of the architectural firm’s projects, head to Instagram. (via designboom)

 

 

 



Art Craft History

Textile Artists File Their Nails in Tiny Grooves for Traditional Japanese Weaving Technique

August 25, 2020

Grace Ebert

Image courtesy of Kiyohara Seiji

Along with a comb and shuttle, textile artists crafting “tsumekaki hon tsuzure ori,” the intricate and durable brocades that are part of Japanese traditions, employ the jagged tips of their fingernails. Common in the Shiga prefecture, the ancient technique utilizes the weaver’s grooved nails to guide the threads down the loom, ensuring they’re placed tightly together. The “tsuzure ori,” or tapestry weave, has roots in the Muromachi period (1336 to 1573), while this specific method has been in Japan for at least 1,000 years, according to Kiyohara Seiji, a representative of Kiyohara Textile Co., Ltd.

To see how the comb-shaped nails work and the ornate textiles they’re used to produce, watch the video below. (via Laughing Squid)

 

 

 



Design

Sunlight Filters Through a Shell-Like Pavilion Covered with Wicker Baskets in Annecy, France

August 22, 2020

Grace Ebert

“The Wicker Pavilion” (2020), 50 square meters. All images © DJA, by Eriks Bozis

A new, woven structure in the Jardins de l’Europe in Annecy, France, offers respite from direct sunlight without completely blocking out the light source. “The Wicker Pavilion” is comprised of pine planks that are formed into a shell, which is covered with 262 wicker baskets that are hand-woven by Latvian craftsmen. When the sun hits the structure, it casts intricate triangular patterns on the grass inside and nearby, allowing it to merge with the rest of the garden rather than blanket it in a shadow. As the pavilion ages, the natural materials will darken and further blend with the surrounding environment.

Designed by Didzis Jaunzems Architecture, the project is part of this year’s Annecy Passages festival. Check out this video that dives into how the structure was made, and follow the Latvian firm’s projects on Twitter. (via ArchDaily)

 

 

 



Art Craft

Concentric Circles of Tufted Wool and Natural Fibers Shape Giant Wall Hangings by Artist Tammy Kanat

March 26, 2020

Grace Ebert

“Pines” (2019), wool, linen, silk, fibers, copper frame, 150 x 218 centimeters. All images © Tammy Kanat

Beginning with asymmetrical ovals and amorphous shapes, Australian textile artist Tammy Kanat (previously) loops, twists, and weaves her sizable wall hangings. Using a steel frame, Kanat hangs up the copper forms that provide the structure for her abstract tapestries. She then combines natural materials like wool, linen, and silk to create small tufts and organic rows of varying hues that add a range of densities and textures to each piece.

Kanat tells Colossal that in recent years, she’s begun to identify a greater symbiosis between her fibrous works. “My process has become more intricate with a connected sense of freedom and experimentation. I am working with 3D shapes and continually pushing the boundaries of colours, textures and the unexpected,” she says.

The artist often shares production videos on Instagram for those who want a deeper look into her creative process. Kanat also is featured in Woven Together: Weavers & Their Stories, a new release from Gingko Press.

“Web” (2019), wool, silk, and copper, 150 x 120 centimeters

“Pines” (2019), wool, linen, silk, fibers, copper frame, 150 x 218 centimeters

“Rainbow Peak” (2020), tapestry wool and copper frame, 2.3 meters diameter

“Nurture” (2019), wool, silk, metal, copper, 130 x 128 centimeters

 

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