Monday, September 14, 2009

Starting off right

After coming off of non-weaving week, I have started my second piece and have successfully measured the yarn, sleyed the reed and threaded the heddles and its only halfway through Monday! (Sigh of relief) I realize that despite other commitments and work this is the most important part of my study and I need to make it a priority...daily. In planning the new piece, I wanted to stay mainly with the methods explored in the first piece to one, not get too far over my head initially and two because its the most basic and most ancient form. I kept two alternating colors, however, based off of some accidental snapped yarn creating interesting voids in the first piece, I decided to sley one, two, or no threads in the reed dents to hopefully create a randomized shed, repeated as the color changes. I still threaded the heddles using a straight draw, 1, then 2, 3, and 4, then repeat, so I am unsure of the outcome. I am also going to use a plastic bag that I shredded into a "yarn" and perhaps some rough twine that I purchased at a hardware store as an interesting weft. Ironically the new piece is a blue and yellow warp again. I was drawn to this fluorescent yellow yarn and the blue randomly followed.

I did however have some breakthroughs last week: I met with local weaver and USF Collaborator Judi Jetson. Lets just say she is exactly what I need as a beginning weaver to have on my side. During our talk she brought up several good points on weaving design and production, first being how natural the act of weaving comes to her. The precise and intricate movements of the set-up along with the rhythmic dance and syncopation of throwing the shuttle and depressing the treaddles. I completely agree with her description and satisfaction derived from weaving. It felt completely natural for me as well, like something inherent. Although being new, the language of weaving somehow feels familiar and not foreign.

She also commented how weaving is a solitary act, unlike other fiber arts like quilting, knitting, or spinning. This isn't necessarily a negative and creates a different experience than your typical Monday night knitting group. Weaving isn't done to pass the time, its a conscious and deliberate act. I have found that it allows you be alone with your hands, the material, and your thoughts. You are completely present with your movements and what happens is under your direct control. Under a strict set of repetitious process and guidelines, infinite possibilities reveal themselves.

Judi and I were also discussing the first piece I created and the unified strength of the under and over members. She suggested I write this comment I made down, so here it is: The piece was so flexible and so rigid at the same time. I can't pull it apart, but I can manipulate it in so many ways. Although this is significant observation, its relevance is yet unknown...not for too much longer though.

Finally, Judi and I discussed that weaving is much more about process than product. At this point, I have spent much more time setting up rather than actually weaving, but I feel nothing is lost as I have learned so much over the past few weeks. I have a sense of pride in hanging up my recent product for all to see, its a beautiful experiment, but is it a true representative of the time, energy, and thought embodied to make it? Are our efforts ever completely understood in our creations? Is it supposed to only be a personal triumph? Is the product really important or is it our learning and growing that makes the process worthwhile? This is something to be explored as weaving is approximately 70% process and 30% product. Does creating beautiful architecture follow the same course? I would say yes.

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