Silbury Hill - A new perspective

This is an update on my shaped canvases. Having made the frames with MDF surfaces and spent hours sanding , priming sanding again and then painting, I was very disappointed with the finish. I didn't like the surface and the multiple glazes I had been putting on just weren't giving the depth I wanted.

So in the end I decided to to cover the frames with canvas. Not an easy task as the corner angles meant the canvas would need to be cut . 

To get around this problem, I sewed extra pieces of canvas in various v shapes into the corners and then was able to stretch the canvas over the frame and do so nifty folding where I had added bits. The end result worked quite well but was very fiddly. The picture at the top of this post is the end result of my aerial impression of Silbury Hill with its mutiple surrounding field boundaries that have changed over the years.

Leashing and knotting 14th March 2014

14th March

This is my loom all warped up and ready for weaving. I have used the legs from a Rigid Heddle loom frame to support the loom at a good comfortable angle for working. 

As I am intending to weave 3 long horizontal strips on the one frame, I should be able to work on the first two from this side then disconnect and turn the whole loom round to work on the last strip.

I have allowed about 3 in between each strip  for knotting and finishing. 

To make the weaving quicker and easier, each lower warp has been attached to a heddle bar by a loop of yarn.  

This way, when I want to weave under the lower warps I just need to lift the relevant threads and the gap will be made open.

Three rows of weave completed and two half hitch knots on each of the 720 warps done.  All set.

Preparing the Frame 8th March 2014

                      8th March 2014

Ok so now my weaving frame is made, just a slight adjustment required. The corners have been reinforced with a small metal plate to avoid any distortion which may occur due to the length of the weave over such a long frame.

The inside edges of the plates have been angled ( by my very ingenious husband) and only fixed on one side of the frame so that they don't get in the way when I'm weaving.

Next step is to do a test area to see how much warp I require.

30 cm of the frame was warped up at half centimetre spacing and I used approximately 49 m of fine linen warp.  This was with the help of my daughter, sat the other side of the frame. We passed the reel between us, each holding the tension at each end, which made the job easier. Will have to think of something else when I do the main warping up and she is back at Uni!!

Allowing for a few rows of weave at the beginning and all the knotting over each of the strips I calculated that I will need at least 335 m of warp! I can see this is going to take some time to get all set.

Weaving frames and samples

After hours of research and planning the time has come to finally make the weaving frame for my exhibition piece for the American Museum. 

As I intend to make three 6' long narrow tapestries, I decided to make the frame large enough to fit all three strips across the warp, running parallel to each other. This will  reduce the amount of warping up needed and will allow me to develop the composition to flow well.

The frame will be used on its side, horizontally for eccentric weaving which fits best with the long vertical rust patterns of my design.


At first I was concerned about the tension in the middle of the frame due to possible deflection in the over the long length of timber but under light pressure it held well. So fingers crossed. 

To gauge the best size warp I am making small samples on a make shift mini frame using different sizes and types of warp with the same design so that I can compare  the results. 

This first sample did not go too well as the warp needed to be fairly loose to weave on the short frame which led to a narrowing of the work.  Further samples are being made on a larger frame to avoid this problem.

Eccentric weaving, Rag Rugs and Rust

Continuing with my weaving experiments I have been using eccentric weaving techniques to depict the texture of rust. Our old rusty Frogeye Sprite has become the focus of inspiration for pattern and texture. Sadly the car is beyond restoration but can live again as a model for my rust work.

Several of the rugs at the American Museum were made using a rag rag technique which I think may be useful as an addition to my eccentric weaving where I want rust to bubble on the surface.

I did this practice circle and found it is quite quick and easy to do as long as you pick the right fabrics. Elastic fabric worked well and my dyed netting was best. In some areas I used standard stem stitch to vary the texture and size of fibre.

American Museum Project

In collaboration with the American Museum, Bath, we have been asked to produce a piece of work in response to the Museum's permanent collection, to be exhibited in the museum in May this year. 

Drawing our inspiration from the diverse forms of 'making' to be found in the collection, our responses will reflect on the relevance of hand - making in the context of contemporary textile practice.

I was particularly inspired by the plight of the Navajo Indians and the styles and weaving techniques of the American Indian rugs and blankets. 

As our exhibit also needs to tie in with our current investigation, I have decided to make some strip weaving, depicting the deterioration of rust, in the style of the Navajo weaving techniques and referencing the long walk.

Here are some of my sample weaves looking at the claw and lazy line zig zag patterns.

I particularly like this mottled yarn in muted rusty colours

Shaped MDF Frames

Continuing with my 2D contemporary landscapes investigation I have been making shaped MDF frames to paint on. Not an easy task! For a start you need a good sharp tenon saw to cut the MDF board and a very steady hand.

I began by making a scaled template of the shape so as to minimise wastage of board and position the shape best for cutting.

Next was measuring the composite and acute corner angles. For this I used an adjustable sliding bevel  (fantastic tool ), to transfer the angle to the 2"x1" timber frame pieces.

Each corner was glued and secured with panel pins

Once all the angles were cut and glued I sanded all the edges smooth.

The MDF was also nailed to the frame support at regular intervals with a nail gun. ( would not recommend doing this again, as it was very difficult to hide the indents on the surface after filling and sanding and depending on size of frame was not necessary)

A support bar was added across the middle for strength and hanging.

Then came the endless filling sanding and priming !

 

All ready for further coats of acrylic primer then the fun begins !