CONVERGENCE: Canadian Tapestry Weavers Panel
By Ann Lane Hedlund
Four veteran tapestry weavers--Barbara Heller, Jane
Kidd, Marcel Marois, and Kaija Rautiainen -- who happen to be Canadian,
gave presentations in the panel, "Contemporary Tapestry in a
Canadian Context." Each was asked to
comment on their technical approaches to weaving
and on important issues that affect their work. One panelist commented
that, although three regions of Canada were represented by the
panelists, being Canadian had less to do with their identity than many
other factors. And, indeed, it seems that the themes and concerns these
artists raised
have broad application to tapestry weavers from
other places.
All four addressed their evolving roles as artists,
their approaches to tapestry designing, the resultant tapestry work,
and the marketing and public relations aspects of their
"jobs." Contrasts among the four were prominent and
instructive, as their choices represented a considerable range of
possibilities and consequences. This essay will attempt to distill the
several themes that were raised, rather than try to replicate each
presentation in actual sequence.
Roles
Each artist had been weaving tapestries for at
least several decades. Jane observed that her role as teacher at
Alberta College of Art and Design meant "little original work gets
done during the school year." Kaija described weaving within the
public space of a gallery and the various ways
she coped with being on display while she worked.
Barbara shows in the same gallery, which she founded, but her work is
studio-based. In an earlier talk, Marcel discussed the balance between
teaching and "the Practice," and his use of weaving
assistants and not apprentices.
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