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THE WORK OF THE WEAVERS
Like blacksmithing; like spinning, knitting, and the other fiber trades; hand weaving become, instead of a trade, a craft practiced for pleasure and an art form practiced for the creation of beautiful objects. The technology of these former trades — the blacksmith’s forge, the spinning wheel, the knitting needles, the hand loom — have been improved by the use of modern materials but are otherwise little changed either in form or in function from a century — or two or three centuries — ago.
My collaborator in this project is Seattle resident Marjy Fiddler, a master weaver. She hand-dyes the wool for her work, designs her pieces much as did the tradesmen of the 18th century, and creates them with the skill and effort of her own hands. My photographs follow her from setting up her loom to removing the finished piece.
Apart from the electric lights, gas heat, and cd player my photographs of her and her studio could be from a century ago or, if drawn instead of photographed, from three centuries ago. I had no intention of making the photographs look old nor to make any attempt to conceal the 21st-century artifacts in her studio. Instead I want my photographs to show the connection of a thoroughly modern artist to the history of an ancient trade.
Winding the shuttle.
Threading a Heddle Eye
Tensioning the Warp
Linen Warp on the Loom Bench
Balancing the Warp Tension
Portfolio: The Work of the Weavers
20 silver prints presented on 11x14, 2-ply, white mats in a black, acid-free, tray-and-lid box or 20 inkjet prints in a black, acid-free tray and lid box.
Click here to review a pdf of the images. Close pdf to return here.
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