David Johnson

Chicago, Illinois

I found [Lialia Kuchma’s] tapestries fascinating. They had a freedom of expression and profusion of color that was very pleasing to me. The freedom of expression came from the appearance her work has of being spontaneously produced during the process of weaving, despite the effort I know she took to prepare her cartoons. – TT p.13

below, David Johnson, Riff in Blue, 1990's

I spent several years trying all kinds of weaving on for size, but finally, in the early 1980s, decided that tapes-try weaving was what most interested me. I let go of all my other weaving projects and ideas and focused from that time forward on tapestry weaving. As I struggled to find my voice in tapestry, I always kept Lialia in the back of my mind as an example of what and how to weave. – TT p.8

below, David Johnson, Chanson, 1990's.

below, Lialia Kuchma, Jerry Schwartz. You can see it also in Fiberarts Design Book 2, Asheville, NC: Lark Books, 1983. Several more of Kuchma's tapestries can be seen in Fiberarts Design Books 1, 2, and 5.

Anna Byrd Mays

Arlington, Virginia

The image I chose to work from is a portion of a much larger fragment of an even larger original piece, a detail of “The Annunciation”, and specifically from the right side of the piece. . . Our studies will incorporate the virgin from the edge of her left hand/face to the right edge of the door . . .. – TT p.15

below, Part of an antependium, dossal, or choir hanging, Southern Netherlands, 1450-80, illustrated on page 210 of Adolfo Cavallo, Medieval Tapestries, Metropolitan Museum of Art, New York: 1993.

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