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One of my loves is mask making… the use of masks by indigenous cultures, the symbolism of masks, the masks we hide behind every day as we journey through our lives. So, for some reason, it seemed appropriate to end “Social Market for a Mirrix” with one of my mask collages utilizing one of the weavings completed during the campaign.
This collage / assemblage isn’t finished yet but it will be completed in time for the final video on Monday. Once the paint is dry, I’ll be able to pull the pieces together relatively quickly.
Remember this piece? The first weaving I completed in the “Social Market for a Mirrix” campaign? The piece I keep referring to as the Southwestern landscape?
I took the original weaving and beaded the bottom half to give it the illusion of flowers. Then I tied off the warp threads leaving them long enough to form a fringe at the bottom of the weaving. And the warp threads at the top of the weaving were left long enough to hang down to form a veil. I like that the veil breaks up the surface of the weaving and makes the viewer have to work with the piece a bit to understand it. I attached the weaving to a canvas board that had been covered with rice paper and painted with metallic acrylic paint then topped off with iridescent watercolor. I finished the piece off by embellishing it with an old Southwestern style earring. All things considered, I’m pretty happy with how this piece turned out.
One down, two more to go. Tick, tock!
I’m currently working up the left side of the weaving and starting to level it off so I can cut the weaving off the loom. I’m also trying to finish off the two remaining pieces that were completed earlier in the campaign so I can get those posted by the end of the month.
Susan left a couple of questions for me on my blog…
What tapestry books do I recommend and do I have a favorite?
The American Tapestry Alliance offers a distance learning program, Helping Hands, designed for beginning weavers who want to explore tapestry weaving with guidance and mentoring from a more experienced tapestry weaver. The details are available on the American Tapestry Alliance website.
What do I like best about the Mirrix Loom?
I really like how easy it is to warp the loom and to be able to get sufficient tension on the warp threads. The coils make it easy to keep your warp threads evenly spaced. I also like the fact that the loom has a nice solid feel to it and it doesn’t wobble, shift, or slide when I’m weaving.
Right now the plan is to start to level the weaving off so you’ll have a better idea how it would look. I’m finding myself making a lot more adjustments now, especially with the black areas. Actually, now that I’m looking at the picture and have some distance, I think I would be a lot happier with that orange section if I had separated it from the brick red with black.
First, my disclaimer… I’m not good with “shoulds” and rules and boundaries. I tend to work in ways that suit what I’m trying to accomplish rather than doing what’s “right”. This is the main reason I don’t try to teach. This is also one of the reasons I recommended books at the beginning of the campaign for people who want to learn tapestry weaving. So, that being said…
Why do you start weaving in different places?
Does that make uneven tension?
Do you always use the shedding device on small areas?
Do you ever use anything but plain tabby weave?
Can you add texture changing the weave and if so can the heddles be arranged to change the pattern using the shedding device?
How would it look using your fingers to lift the warp threads and change the weft pattern to add texture or break up a large pattern of color?
Can you embellish the weaving by adding some metallic thread as a highlighted area?
What about shading an area?
Just a reminder also, videos will be posted on Mondays instead of Sundays for the remainder of the campaign.
I’ve come to the realization I’m going to have to weave faster because I’m running out of things to say about this piece. I must just be boring your stripey socks off. Anyway, my goal at this point is to start to level the sections off so I can at least show you an area with the handspun pulled through the slits in the event I don’t finish the entire weaving by February 28th. Or maybe I’ll just consider it finished on the 28th no matter where I’m at in the process so I can cut it off the loom and finish the remaining steps of closing up some of the slits, incorporating the handspun yarn, and mounting it. I’ll see how things progress.
In case you missed the announcement, Mirrix is offering free bead patterns for download on their website. There’s a really great Valentine’s Day heart pattern available that I believe is based on one of Claudia’s zendoodles. I might give the image a shot at some point weaving with DMC #5 embroidery thread. But that’s a project for much later in the year.
The pink and black “weaving over a weaving” is still very much a work-in-process but should be finished this week. One of the ideas that crossed my mind when I was working on it yesterday was what would happen if there were multiple layers of weaving, then areas were burnt away so you could see the underlying layers. Yep, it’s just a matter of time before something goes up in flames.
As I start to look forward to how I will utilize the Mirrix Loom in my future work, I see it being a really useful tool in my mixed media / collage / assemblage projects. I’ve realized over the past few months that for me “traditional” tapestry weaving is very restrictive.