The Weave Shed is a website for weave designers with a portfolio practice, payee, mills, independent, designer makers, tapestry, artists, educators and students. The site was initially funded for the for the first two years by The Worshipful Company of Weavers and Central Saint Martins, University of The Arts London.
Out of Synch is a new project by Coventry-based
weaver Theo Wright that explores the synchronisation and sequencing of design
elements through a series of textiles: single cloths woven in linen and double
cloths woven in silk.
Simple colour and pattern sequences are disrupted
so that they become more complex and move in and out of alignment. The same
approach has been applied to a range of weaving styles to produce a variety of
effects. All the textiles have been handwoven on a 16-shaft dobby loom.
The National Lottery Heritage Fund Preserving the Fabric project has funded the restoration and major improvements to Whitchurch Silk Mill, a Grade Two* listed Georgian watermill on the banks of the River Test in rural Hampshire.
They are now inviting applications from those studying woven textiles or anyone with experience or interest in working with textiles to apply for a six-week placement.
Deadline for applications: June 7th 2019 – Click here for more details.
different approaches interconnect and cross over in intriguing and sometimes
surprising ways. Soft Engineering introduces a central theme of textiles taking
shape through the interplay of raw material and structure, and the exhibition
shows how this plays out in varied ways, with spontaneously emerging shapes,
the repetition/shifting of simple shapes, pleating, folding, twisting, and
four makers create work on widely different scales, encompassing large wall
pieces, garments, scarves, sculptural pieces and textile jewellery.
uses fibres with contrasting physical properties to create dramatic curved
strips and circles, designed for architectural settings.These pieces remain
straight while being woven, but begin to reshape themselves when cut from the
loom, finally achieving their finished shapes after being soaked in water.
is the different spin directions of high-twist yarns that allow Ann to create
subtly curving scarves, while contrasts of both yarn twist and fibre allow
pleats and origami effects to emerge in neckpieces and bracelets. Once again,
these pieces are rectangular on the loom and only acquire their shape during
wet finishing, as the absorption of water releases the energy of high-twist
uses different stitch combinations to shape the fabric, a process that is
vividly demonstrated in her display of differently shaped ‘squares’, where each
piece has the same number of stitches and rows.This shaping does not rely upon
wet finishing because the shapes develop spontaneously in the knitting process
itself. Alison exploits these principles in her garments, accessories and
sculptural pieces, allowing the shapes to subtly emerge.
Julie has researched the technique of ply-split braiding, and has pushed it far beyond its traditional uses for animal harnesses, producing dramatic sculptural pieces and textile jewellery. The technique relies on the use of highly twisted plied cords that are braided by being taken through one another, splitting the plies in various ways. The braiding method and the use of highly twisted cords act together to shape the pie
The Cockpit Arts / The Clothworkers’ Company Award
The Awards are open to graduates within the last five years, these awards aim to assist weavers to set up in business. Weavers can be working in any form, for example, creating products; visual art; working with mills and making samples for industry.
All Awards comprise business support provided by Cockpit Arts as well as subsidised studio space for one year. The Awards include space in a shared studio equipped with Leclerc, Louet and ARM loom Touch and a dye area.
Deadline for applications: 5pm, Monday 15 April 2019
The programme Google Arts & Culture and Jacquard (Google ATAP) are launching the first artist-in-residency with the goal of exploring synergies between technology, art, and fashion at Google Arts & Culture Lab in Paris. Curated by Pamela Golbin, the program will enable three artists to conceive of and create works that explore textiles, connectivity, and creativity over the course of a five month residency.
This residency will grant the three artists access to the core of Jacquard technology, factories in Japan, mentoring from Jacquard and Google Arts & Culture engineers, mentoring from Pamela Golbin and Memo Akten, and access to the Google Lab space and resources in Paris.
The end of the residency will be celebrated by showcasing the art installations at a private event in October 2019 and potential partner museums. Additionally, final work and the Making Of process will be featured in a dedicated section on Google Arts & Culture platform. Artists will own the IP of their artwork.
The Residency includes: – Weekly advisory meetings with Google Arts & Culture Lab and Jacquard engineers – Access to Jacquard Research and Development teams – Artist mentors : Pamela Golbin and Memo Akten – Dedicated Creative Coder and hardware prototyping team- Jacquard Factory visit and inspiration trip in Japan- Three weeks at the Google Arts and Culture lab in Paris- Stipend of 10k€ gross for each artist – Production budget and Jacquard material production: 15k€ for each artist
Eligibility This opportunity is open to artists of all ages, at any point in their career. Though strong support is provided alongside technical expertise from Google Arts & Culture Lab and Jacquard engineers, the artist must be eager to explore new technologies and be capable of delivering a fully finished project that incorporates Jacquard technology by the end of the residency period.
It is envisioned as a five month full-time residency, but allows flexibility for the artist to pursue other projects and work during the residency. Artists must be available once per month for production reviews as well as at the start and at the end of the residency in Paris.
Both new projects and projects that are in development but are not yet completed are eligible. Candidates will be selected based on the strength of their project as well as their ability to deliver, and a demonstration that the residency will be beneficial.
Artists should grant the right to display their artwork as well as document the making of process. Apart from Jacquard background IP, artists must guarantee full ownership or right of use in perpetuity of the used material, including musical rights if applicable. Note: Program participants must make their own arrangements to and from Paris.
Timeline 1st April 2019: Deadline for applications 3rd April 2019 : Email to the 10 selected artists , 5th of April 2019 : Artists to present their work to the jury (by VC or in person at the Lab in Paris) 8th of April 2019 : Announcement of the 3 final artists selected 16-17-18th of April 2019 : START of the RESIDENCY (mandatory days at the Google Arts and Culture Lab in Paris) May 2019 : Jacquard factories and partners visit week in Japan 31st of September 2019 : END of the RESIDENCY (Internal presentation of the working installations) Oct 2019: Outcome presented at TBD [Institutional Partner’s] exhibition space in Paris.
APPLY HEREDeadline Monday 1st of April 2019 at 18.00 CET / 9:00 PST .
Rita Parniczky works with photography, video and sculpture including weave and mixed media. Her work predominantly explores structure, visual change, slow time and human behaviour.
Amongst other awards, the work has received the Wall Hanging Award from The Worshipful Company of Weavers and is included in the permanent collection of the V&A Museum.
Most recently, Rita has become recipient of the Theo Moorman Trust Award. Her project reassessed her woven work investigating the role of textiles through experimentation, with new structural works and meeting Sheila Hicks.
In the new body of work Rita juxtaposed her original woven medium with plaster. This defamiliarising act initially addressed her experience of the reception of her woven work, the expectations and limitations attached to the medium leading her to investigate how these are formed around objects, or people.
While handling plaster she re-connected with memories of having broken bones as a child, and the limitations she experienced through the protection from her family. This raised further questions and meanings of the way we process our surrounding informing the work ‘Broken Bones’ aesthetically and conceptually.
If ‘X-Ray’ series exposes the skeletal structure of the woven body mixed-media work, ‘Broken Bones’ seals it back again. Rita breaks some plaster off the surface; these fragments, as integral part of the work, carry the imprints of the woven arrangement narrating alternative stories, some personal or fantasy such as the idea of artefacts found at excavation sites.
This project enabled Rita to evolve her woven medium to its next phase to investigate fundamental questions about human response, expressing personal stories and reclaiming past experience through materiality.
The process will give existing materials another meaning and role in life while experimenting with different ideas and outcomes. For more information and follow @rita_parniczky
Raising questions how expectations are formed her experimental work expresses ideas on human behaviour and reclaims personal stories through materiality. Rita will be teaching a Weaving Summer Workshop at Saterglantan Institute in Sweden this July.
The weaving workshop will focus on experimental weave, to build structures from uncommon materials. The workshop will be exploring materials commonly used by other industries and disciplines, those second-hand or rejected goods; the process gives existing materials another meaning and role in life while you experiment with different ideas and outcomes.
This concept-led workshop will encourages participants to think freely and to experiment with weave as a medium for building structures out of uncommon materials.
Prior to, and at the beginning, to the workshop participants will collect various materials that are not usually used in weave however can be woven in some ways.
These may include materials commonly used by other industries or disciplines, second-hand or rejected goods and any of these partially changed or worked-onto to make it available for loom work.
Matilda McQuaid is Deputy Director of Curatorial and Head of the Textiles Department at the Cooper Hewitt Smithsonian Design Museum. Prior to the Cooper Hewitt, she worked at The Museum of Modern Art, NY, where she curated over 30 exhibitions, including the highly acclaimed “Structure and Surface: Contemporary Japanese Textiles.”
At Cooper Hewitt, her exhibitions have included “Josef + Anni Albers: Designs for Living” (2004), “Extreme Textiles: Designing for High Performance” (2005), “Color Moves: Art and Fashion by Sonia Delaunay” (2011), “Tools: Extending Our Reach” (2014), “Scraps: fashion, textiles and creative reuse” (2016 with Susan Brown).
Among her many publications is ‘Shigeru Ban’ (2006) the seminal book on this Japanese architect. She is currently researching the exhibition ‘The Future of Textiles’.
Date: February 22nd 2019 at 2pm
Cost: £20, concessions £10, to include afternoon tea Click here for booking and further information
The London Loom Lounge
Explore the Loom Lounge hosted by The London Loom, brimming with weaving wonders including oversized looms, weaving-inspired badges, yarn displays, music and talks.
18.30–18.50: Nadia-Anne Ricketts, founder of BeatWoven, discusses how she has fused the patterns of music and weaving in her artistic work.
19.30–19.50: Ismini Samanidou, the first weaver-in-residence at the Josef and Anni Albers Foundation, discusses the links between her weaving practice, photography and improvisation, and Anni Albers’s enduring influence.
20.30–20.50: Dr Priti Veja talks about her research into woven electronic textiles and how she combines innovative design methods with weaving.
21.00–21.20: Do you know your warp from your weft? Join The London Loom’s craft quiz with yarn-inspired prizes at stake. Crafters – this is your chance to shine! Show offs welcome.
Weaving Futures Meet the next generation of weavers! Drop in to Central Saint Martins’ pop-up weaving lab, hosted by Philippa Brock, jacquard weaver and Tutor, and BA (Hons) Textile Design 2nd Year students – Kieu Vu, Francesca Miotti , Fadhel Mourali and Zoe Daley to see weaving in action, explore weavers’ sketchbooks and chat to them about their processes.
Explore Stewart Easton’s hand-stitched tapestry where textiles and sound art merge to create a unique audio piece that responds to your touch.