ATA Fall Newsletter pg7

She often uses published photographs from newspapers and magazines as the take-off point in designing this work. She discussed the challenges presented by weaving from photographic images, not in terms of technique but of copyright issues. She described her earnest search for permission from photographers of published images as sometimes successful and very often frustrating.

The Works

The audience was treated to excellent slides--overall shots and details--of splendid work by all four weavers. I will not try to repeat this visual part of the presentation. Suffice it to say that those pictures were indeed worth more than a few thousand words.

Processes

All four weavers work on upright tapestry looms. Kaija works in a painterly, impressionistic style and purposely uses linen and silk as her weft to produce a "hard" surface effect, her “softer” borders are woven in wool and linen. Barbara uses her own handspun as well as commercial home-dyed wool yarns, often in a dusky and expressionistic palette. On the other hand, combining geometric and realistic imagery, Jane creates her bright tapestries from a wide array of store-bought yarns. Likewise, Marcel has, as he said, "no time for dyeing." He uses thick warp yarns "to avoid being too pictorial and to keep the weaving alive," employs natural wool wefts, and has custom-made plywood/Velcro mounts that he considers an integral part of the artwork. He noted, "We have to care more about presentation if we want to be considered by serious contemporary art galleries."

Marketing

Although most of Jane's work is sold through galleries rather than done on commission, she commented on the importance of clear communications when she does take commissions--first to the client and then to her weaving

assistants. In addition to many public group shows and