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Tapestry Topics Feature Article
A Quarterly Review of Tapestry Art Today
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page 15
Summer 2004, Vol 30 No 2
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Linda Weghorst, Sunsets and Sweaters: For Mom and Dad, 15" x 15", 2000
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Linda Weghorst, Grandma Marie: Gifts of Her Hands, 20" x 15", 2000
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New Directions, Southern Connections: Potters of the Roan & Tapestry Weavers South
By Lynn Mayne
Arrowmont School of Crafts in Gatlinburg, Tennessee was the site for the recent TWS show from September 26 to December 20, 2003. Thirty-six tapestries by twenty one members of the regional southern organization were hung in the Atrium Gallery. I saw the show in October on my yearly trek from Michigan to Florida.
Two portraits, Grandma Marie: Gifts of Her Hands and Sunsets & Sweaters: For Mom & Dad, woven by Linda Weghorst, were very personal interpretations of real people and fiber arts. Teresa Graham Salt wove a precious silk tapestry and seed bead mosaic When You Get What You Want featuring a maiden clutching bars at a window. Becky Stevens' Why Don't You Listen to Me? contained abstracted human-plant forms with expressive faces. Patricia Williams' Talking Woman used a variety of lines, zig-zaged and eccentric, to portray hair, facial wrinkles and sound waves. Susan Iverson's human head and shoulders were colorfully abstracted in Horizons Dreaming Sacsahuman. I was impressed with how perfectly presented her pulled warp tapestries are.
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Tommye Scanlin’s huge Sunflower and Sky was a powerful treatment of a single flower against fluffy clouds and blue sky. Flowers were subject matter for Joan Griffin who exhibited Poppy and Sunflowers in the Field. Greenfield Lake by Rosemary Smith was a very peaceful landscape with an oriental feeling.
The TWS exhibition was an excellent opportunity for its members to get their tapestries “out there” on public view.
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Teresa Graham Salt, When You Get What You Want
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Rosemary Smith, Greenfield Lake, 16" x 24", 2003
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Artist, Tommye Scanlin, with Sunflower and Sky, 60" x 40", 2002
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o f
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t h e
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N e w s l e t t e r
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A m e r i c a n
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T a p e s t r y
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A l l i a n c e
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