Warp&Weft

Contents Contact details 2 Editorial 3 Tributes 4 Meeting reports: September 2006 7 April 2007 10 Features A bit of History and a Weekend Break 14 Exhibition review: ‘Indigo: A Blue to Dye For 16 Profi le: Allya Khan 18 Membership news 19 Library 21 Future meetings 22 What’s On 24 Association AGM 26

The Newsletter of the London Guild of Weavers, Spinners and Dyers Issue 226 June 2007 Issue 226

London Guild of Weavers, Spinners and Dyers www.londonguildofweavers.org.uk

President

Daphne Ratcliffe - [email protected] 020 8997 0291

Vice Presidents

Aileen Kennedy Nancy Lee Child Mary Smith

Executive Committee: Officers

Chair - Jenifer Midgley [email protected] 020 8892 4708 (and interim Treasurer) Secretary - Ann Brooks [email protected] 01494 726189

Committee members

Librarian - Jean Derby [email protected] 020 8560 0483 Exhibitions Officer - Allya Khan [email protected] 07970 155127 Membership Secretary - Noreen Roberts [email protected] 020 8973 1847 Lola McDowell - [email protected] 020 8749 0923 Sharen McGrail - [email protected] 020 8446 3418 Programme Secretary - Marianne Medcalf [email protected] 07800 839082 Editor of Warp & Weft - (Vacancy) [email protected]

Webmaster – Brenda Gibson [email protected] 020 8673 4914

Page 2 June 2007

Editorial

Following the resignation of Maggie Ruddy as editor of Warp and Weft we have had to face the embarrassing situation of being unable to find a successor. Brenda Gibson, with her usual efficiency, produced the last issue for which the committee and I am sure the entire membership are very grateful. This issue has now been put together as a joint effort and we hope any obvious faults and omissions will be forgiven. We are attempting to bring the newsletter up to date with reports from past meetings. However, we appeal to all our members to help us in our efforts to keep up the high standard of Warp and Weft and would welcome comments on the content, contributions for future issues and most of all an offer to fill the post of Editor. The next issue will provide information on the procedure for submitting work for our biennial exhibition, 11th – 20th October, so start putting some ideas together re ‘Shades of Autumn’. The Weave Study Group continues to meet every two months and is at present looking at techniques using parallel threading. In the coming months we have some fascinating talks on offer with linen, rugs and silk so we hope our meetings will continue to be well attended.

Jenifer Midgley and Ann Brooks

Page 3 Warp and Weft Issue 226

A Tribute to Melanie Guild. She continued to contribute to committee meetings by sending Venes Seven Years’ Presi- ideas, advice and comments via email dency or phone. She is one of the longest serving members and knows the past Throughout my years as Membership and present members better than Secretary, which almost coincided most; her information on former with Melanie’s Presidency, whenever members is invaluable, as is her anyone joined the Guild, I always knowledge of suitable and unsuitable asked ‘How did you hear about the speakers for meetings. Guild?’ and inevitably the answer To me one of Melanie’s best was ‘From Melanie’, less often ‘From attributes is her ability to realise the your website’. Take away all the potential of others and encourage, members taught by Melanie, either dare I say sometimes bully, them into at Handweavers, the Crypt, Adult action. It took a lot of persuasion Education Classes or Summer School on her part to get me to join the and the Guild would be decimated. Committee. Later she decided that Melanie’s knowledge of our three I would be the organiser of the 50th disciplines is extensive, used to its full Golden Anniversary. My immediate at the Annual Competitions, where reaction was ‘I can’t’, but at her she has commented on all entries; insistence and, with Aase Walker’s complimenting, giving constructive help, I did. Last year towards the end criticism or asking the process used of her term as President, I understand in the making. Melanie sets herself that Melanie was instrumental in the highest standards and encourages suggesting me as her successor. Again others to do the same. I said ‘I can’t’, again I did. Melanie, Seven years as President was but thank you for pushing me into tasks the last of Melanie’s posts; prior to I felt incapable of fulfilling, but in this she was Chairman, Mid Week hindsight, I have thoroughly enjoyed. Secretary and Exhibitions Officer to I am sure that many more members name but a few. Who can forget the feel the same. ’93 and ’95 Exhibitions held at the As I take on the daunting task of Globe Theatre whilst building work following in your footsteps Melanie, was still in progress. Never to miss may I, on behalf of all the members of an opportunity, Melanie borrowed the Guild, give you our sincere thanks the workmen’s wheelbarrows and the for your immense contribution to the bundles of reeds, ready for thatching, continuing success of the London as props for the exhibits. Guild of Weavers, Spinners and Dyers. Although Melanie’s time as President coincided with her move to Daphne Ratcliffe Norfolk, she never lost touch with the

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Brenda Gibson

On accepting the nomination for Chair of the Guild at the AGM I must offer on behalf of us all very sincere thanks to Brenda who has held this Office since March 2002. During these five years she has firmly held the reins of the committee and I know it will not be easy to follow efficiently in her footsteps. Brenda, of course, has been so much more than our Chairman, having set a great standard as Editor of Warp and Weft up to 2002, she has also set up and developed our web site and thankfully will continue as Webmaster sending us news items, reminders of events and encouraging us to enjoy the electronic version of Warp and Weft in full colour. The Committee has indeed benefited much from her input and I hope will continue to do so.

Jenifer Midgley

Page 6 June 2007

Meeting reports with her history of silk weaving, use of inlay and techniques to September 2006: Sue Hiley Harris embellish scarves and garments and - My own work it was fascinating to hear how she then progressed to three dimensional Our meeting in September 2006 gave forms. us an up to date account of the work After years of weaving with silk, of Sue Hiley Harris. Those of us even to the extent of rearing her who have been taught by Sue or have own silkworms and taking an Open heard her speak before are familiar University science degree, she then turned to other fibres including linen, Caption hemp, paper, copper wire and also nylon monofilament. Early days in Queensland teaching the principles of perspective drawing have influenced her more recent work. A number of small pieces were produced for an exhibition of miniature in France and later in Brecon larger pieces were produced involving even more elaborate folding, twisting and interlacing of the woven elements. Sometimes the twist of a singles , particularly with hemp, allowed the piece to adapt to the nature of the yarn. Occasionally colour was introduced by using indigo and cochineal. The exhibition in Brecon could have been spoilt by the lack of natural light from covered windows but clever lighting allowed these pieces to throw shadows which enhanced many of the displays. A smaller exhibition in Stroud was displayed in a darkened room where the hanging forms, mostly woven with reflective yarns, shone brightly again with clever lighting. Considerable time is spent at the planning stage, immaculate drawings are made and a paper model produced before embarking on the weaving. Page 7 Warp and Weft Issue 226

Caption

This work is much in demand for and we were so privileged to hear Sue exhibitions around Europe and relate the stages of her career with also in the USA, she is soon to take very welcome tit bits of advice, i.e. work to a linen festival in Quebec. how to deal with the ends of warps Collaboration with other artists is when with a complex structure and another feature of her work and also listening to Radio 4 or story tapes to to displays in the open air. Coming keep the mind from wandering . How to Cardiff for “Craft in the Bay” is a and where will her weaving go next, joint display of her work with sculptor we hope she will be back once more to Richard Renshaw. tell us. It is always a joy to hear how professional artists have developed Jenifer Midgley

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April: Ptolemy Mann would be on her loom for The Dynamics of Colour, Architecture hour after and Woven Textile Art hour, totally focused, When Ptolemy Mann came to long after talk to us, talk she had to …As her everyone work is structured graphic textiles else had designed for large wall spaces like gone. the side of a three-storey building One night she had not brought samples, but she was created a presentation on her laptop. interrupted Unfortunately the technology went by a along with her dictum of “Less is message that More” by not working at all! The someone laptop and the projector refused to be had a on speaking terms despite the efforts loom, a George Wood, to be taken of the computer buffs in the audience. away or thrown away by the next The most we got was an occasional morning! Accordingly, she sped to glimpse of a slide, which would the rescue, found it all parcelled up disappear the moment she started to and took it home, where it then spent talk about it. two years waiting to be unwrapped So, assisted only by a selection of and reassembled. postcards, she described for us how Ptolemy set up her studio the day her work and interests have evolved in after completing college she was her 10 years as a professional weaver. determined to find ways to support She also mentioned her web site for herself through weaving and knew it anyone needing the slide show (www. was important to waste no time. ptolemymann.com) She clearly illustrated her path Ptolemy told us how her knowledge to the work she does today; large and interest in the links between art, pieces, in vibrant, graduated shades architecture and weaving have grown, of hand dyed colour, from her first and how this has influenced her work, piece, commissioned whilst she was moving from flat pieces originally to at the RCA. This was called “Seven today’s three dimensional work. Countries” and she described how she Her talk started with the story of had enthusiastically included every how she took up weaving and of her structure and every fibre she knew. growing obsession with the subject, This resulted in the discovery that “it channelled all my interests, all my she expresses her ideas best by simply influences”. concentrating on the elements of form When at St. Martin’s taking a and colour. degree in Woven Textile Design, she She now concentrates on site- Page 10 June 2007

specific minimalistic hand dyed to consider how people use the space a individual pieces inspired by piece is designed for, just as architects architecture and interiors should, and how not doing so can lead She found herself needing to make to disaster. One client did not let her her work more clean edged, more view the site beforehand, and then geometric,. She concentrates on hung the commission in full sun, so it shape/form and saturated colour. The looks different every time she passes advantage of using is that by: other clients have been known to the cloth can be stretched very taut deliberately hang work where it will over wooden frames, emphasising fade, so they can watch it change! clear lines and crisp edges. .Although the individual pieces “My aim is to apply colour and that make up the whole are limited form to a space in a clean structural by the width of the loom, Ptolemy way that brings warmth to the explained that this is an advantage to environment” both manufacture and design. So that She talked about how important it is she could maintain control, she didn’t want a loom wider than she could Opposite: Monolithic Box Series stretch. Below: Portman House Commission The finished piece is usually groups 2005, both by Ptolemy Mann of smaller pieces; this means that the pieces create a different dynamic working together, than if the work were one large flat panel. She emphasised the importance of colour in her work- not just from the yarn itself, mercerised cotton, (chosen for the way it dyes, its slight sheen... and its lack of interest to moths!) but the setting. In her RCA show she painted a 3 metre high wall blue; to give the colours of the pieces she was showing more vibrancy- and questioned why it is that galleries are always painted white. (The RCA insisted the wall return to its original shade afterward) All the yarn is dip- dyed 8-20 metres at a time in studios hired by the hour- this, she says, gives the impetus to get something achieved. So needing to be fast yet accurate, she follows her intuition, to create varying gradations Page 11 Warp and Weft Issue 226

of intense colour. Something that is clearly important to her is to challenge the assumptions Below (and front cover): 'The Rythm of weaving/crafts as being nothing to of Violet Orange and Citrine' 2006, by do with Art. Weaving can be modern, Ptolemy Mann contemporary and as much part of Art as a painting or sculpture. Her work in fact does combine elements of all.

Lola McDowell

Page 12 www.fibrecrafts.com

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Feature A Bit of Weaving History and a Weekend Break

I would like to share with Guild members two weaving experiences one a bit historic and the other bang up-to-date. At the February meeting of the Guild, the title of Stacey Harvey- Brown’s talk included the term ‘Synchronicity’ and a central theme was ‘If you feel like doing something, get on and do it’. The following tale shows how much I was influenced by her talk. I knew that Stacey not only has vast experience in computer-aided October 9, 1896. The invention is to design and computer-assisted improve the mechanism of the flying complex weaving but also has a . working model of a Hattersley loom Although I do not consider myself a from Galashiels. The latter was of textile designer, and I have very little particular interest to me because my experience in it, I am very interested maternal Grandfather worked as a in computer design. Despite having tuner in a tweed mill in read a lot about the joys and sorrows Galashiels over a hundred years ago. I of the AVL computer-assisted loom don’t think this influenced my interest I had never even seen one. In her in weaving as he died, a relatively talk Stacey mentioned that she runs young man, in 1909 and I never residential weaving courses and I felt knew him, but I do have something that the opportunity of doing some of his which has always fascinated computer design for a complex weave, me. This is a small notebook in which doing some hands-on weaving on an he describes ‘an Invention for the AVL loom AND seeing a Hattersley Improvement on the Box Mechanism jacquard loom was too good to of Power ’ which he has sold miss. So the day after the February to Messrs George Hattersley and meeting I rang Stacey and asked if Sons for an undisclosed sum on 4th she would accept this octogenarian July 1896. There is also a printed on a Weekend Break course. She copy of which I take to be a Patent, immediately agreed and in mid March No. 22,415 entitled ‘Looms’ dated I made my way to Staffordshire and Page 14 June 2007

had three days of Stacey’s undivided Stimulated by my weekend break I instruction. I was introduced to have contacted Hattersley and Sons and encouraged to play with the to enquire whether this invention was WeaveMaker computer design applied to their looms and if they have program. An echo weave design was a record of its purchase and what the made and transferred to the AVL undisclosed sum might have been. loom and, although I would not say They have not yet replied but if they that the 24 inches of fabric which do I will certainly let you all know. I wove was spectacular, I enjoyed every minute of its production and Marion Gore learned some of the advantages and pitfalls of the machine. I was also Interested in a brief intro into very impressed by the huge Hattersley weaving software? jacquard loom which Stacey has in operation and was able to photograph the part described in my grandfather’s Fiberworks-PCW is probably the most account of his invention. So in a few widely used weaving software for days I was able to realise three of PCs (not Macs). Its creators, Ingrid my weaving objectives: - computer Boesel and Bob Keanes, are planning designing, AVL weaving and meeting to be in the London area on the day of and admiring the Hattersley loom. the August Guild meeting, Saturday 11 August. If enough members are Opposite: Internet image of old interested, it may be possible for Hattersley & Sons advertisement us to ask them to do a two-hour Below: 'Snowflake' draft in Fiberworks introductory session in the morning, or alternatively to give a brief informal demo immediately prior to the meeting. If you are intrigued by weaving software or want to know what it could help you do, but you don’t want to commit to a multi-day workshop, this may be a good opportunity to test the water. We are currently gauging enthusiasm for this. If you might be interested, please contact Jenifer Midgley ([email protected] 020 8892 4708), and tell her which option you would prefer.

Wendy Morris Page 15 Warp and Weft Issue 226

Exhibition Review impression but my mind still recalls by Bobbie Cox with her Indigo; A Blue To Dye For techniques explained, burnished almost black fabrics from Africa, a William Morris print and a beautiful triple weave hanging from Venezuela which used eucalyptus and cochineal in addition to indigo. While Melanie and I were trying to decipher the technique used by peering at the back we heard a voice saying ‘you two must be weavers’! There were blue Jeans from Issy Miyake to high street stores, rugs, hangings, Chinese blue workwear, everything from the exotic to the everyday. The upper mezzanine floor held There is something about the word a section termed Blue Art and ‘indigo’ which captures the interest here was another feast, a series of and enthusiasm of most weavers, arresting panels by Hirouki Shindo spinners and dyers. This exhibition, together with his famous blue balls travelling to Manchester, Plymouth on the floor, a huge resist dyed panel and Brighton over the year, provides by Fukimoto Shihoku, an artist a true feast for the eyes. Planned remembered I am sure by many for and curated by Jennifer Harris and Jenny Balfour-Paul, it covers the use of indigo throughout the world from ancient times to the present day. Melanie Venes and I made a journey to Manchester in March to see this exhibition at its first venue, the Whitworth Gallery. A beautifully designed layout led one through the history of indigo from the iron age to modern day blue jeans, the chemistry of the dyeing process and how this is managed in various parts of the world and the range of decorative techniques using indigo in textiles including batik, shibori and . I cannot list even a selection of items which would give a comprehensive Page 16 June 2007

Above left: Indigo vat on exhibition catalogue, Below left: Work by Sue Hiley Harris Above: Evocative image from 'Indigo' by Jenny Balfour Paul Above right: Triple weave panel using indigo, eucalyptus and cochineal afternoon we were the last to leave her work in Textural Space and her the gallery, having to be turned away amazing exhibition at the Daiwa from the excellent video presentation Foundation two years ago. Here by the museum staff. was also a series of folded pieces I shall certainly visit this exhibition handwoven with paper yarn by Sue again when it goes to Brighton in Hiley Harris termed Crags, dyed September, perhaps there will be with indigo and also her local earth enough interest for a Guild outing? pigments. These were displayed on a plinth and arranged to give a Jenifer Midgley semblance of Welsh crags. On this rather wet Sunday Page 17 Warp and Weft Issue 226

Profile: Allya Khan but in order to keep the family peace studied Architecture at Nottingham University. During that time I would Picture of Allya dabble in sewing and stitching and always had a love of fashion and (requested) textiles. I graduated after three years with a BA and realised I could not think in three dimensions or imagine walking through space and perhaps architecture was not for me. I taught myself how to sew and make basic clothes when I graduated and organised a few craft fairs with friends. I eventually set up an alterations and clothes design business in Nottingham city centre and gained quite a few clients mainly independent retailers; I even did some alterations for the Paul Smith flagship store. The alterations business grew My name is Allya Khan ; I have been bigger and bigger and I had less the exhibitions officer for the guild and less time to design although I for just over a year now and in that did make a few wedding outfits and time have organized four stands at some linen clothing for a few mens various venues - Kensington Olympia, independent shops. Syon Park, Alexandra Palace and I decided to close the business as I recently at London Excel. I am did not want to be a seamstress and currently organising the biennial ended up getting my first office job at exhibition in October at the Gallery, Next in Leicestershire. After several Islington Library. years I moved to London to work for a I am a weaver and have been DIY outlet - this was so far removed weaving on and off for four years from anything I could have imagined now. I say on and off because I have I would do but it enabled me to make a demanding job and as many of you the move to London and pay the rent. know I had been commuting daily to Luckily I surfed the net one day and Milton Keynes from South London saw Melanie's course at Handweavers for some time. Studio - I couldn’t believe that people I have always had an interest in could weave fabric at home - it was art and crafts since I was little and an amazing discovery especially as I often used to make very handmade had not pursued my creative side all looking clothes from scraps of those years ago. As soon as I attended fabrics. I studied up to A level art the course I became addicted to Page 18 June 2007

weaving and bought a Louet table top Milton Keynes, still buy DIY for loom from Don Porritt. Soon after a well known retailer but more I invested in a 45 inch wide Louet importantly have been weaving Octado - I did not think twice about loads. I love weaving and owe a lot to this purchase; I had to have it and Melanie and the Guild. how lucky I am!!! I lived with this Finally, just a reminder to keep our huge loom in a studio space for a few autumn exhibition at the front of your years but have recently moved to a mind - see page 25 for an update of bigger house; the loom now has its submission guidelines. own room. I have stopped commuting to Allya Khan

Membership news This is an advance notice for your information as a way of encouraging It gives me great pleasure to welcome more young people to become 14 new members this year. See below members. for their addresses if they became Please keep me up to date with any members after the previous edition of address, phone or email changes and Warp & Weft. Email addresses can let me know of any errors I have made be found in the member’s section of in your details. the Guild website. I am sorry to report that seven Noreen Roberts members have resigned and 17 have Membership Secretary. not renewed and according to the [email protected] constitution are no longer members of the London Guild. Even so it looks as though our numbers will be similar to New Members those of 2006. You will be pleased to learn that David Armstrong in recognition of all that they do for 35 Porton Court the London Guild the Committee has Surbiton made two more Honorary Members. KT6 4HZ Melanie Venes, our past President and 0208 399 4832 Daphne Ratcliffe our new President. As passed at the recent AGM the Sarah Roberts Junior membership of the London 84 1/2 Archway Road Guild has been expanded to a Student London membership for full time students N19 3TT only, commencing in January 2008 07885 463363 The subscription will be half the Sarah Griffiths price of the current membership fee. (details withheld) Page 19 Warp and Weft Issue 226

Hailey Lanward Members Change of Details. 4A Norfolk Mansions I Lithos Road Sharen McGrail London 251 Boundary Road NW3 6DU Walthamstow 07809 152225 London Liz Prior E17 8NE 4 Osterley Park View Road 0208 521 0355 Hanwell London Susana Sanchez W7 2HH 40 Kingsman Drive 0208 840 1417 Clacton on sea Essex Rebecca Fuse CO16 8UR 110 Fircroft Road 01255 428838 Tooting Bec London Catherine Blair SW17 7PW Bay Tree House 07738 229928 Obelisk Plain Holt Susan Poston Norfolk 49 Clapham Common Westside NR25 6AP London 01263 712977 SW4 9AS 0207 228 1471 Paivi Suomi 10 Eagle Court Elizabeth Milner High Street 11 Princes Road Hornsea West Ealing London London N8 7QG W13 9AS 07881 985557 0207 040 8117

Joy Birney Kelmscott House 26 Upper Mall Hammersmith W6 9TA 0208 563 1898

Page 20 June 2007

Library Get Set Advanced A new technique in tapestry weaving As you know if you were at the last Author: Diane Ammar meeting, we have bought some more Gives tapestry weavers another books. I thought that it would be technique to use – a shaped useful for those who were not at the and selvedged technique. The meeting if I put the information about technique of one complex design is the books into Warp & Weft. So demonstrated in detail, step-by-step, the following gives the names of the rather than providing patterns. There books and a little about them. is an earlier book called “Get Set”.

The Art of Knitting Magazines: Text, photographs and diagrams by As you may know there are quite a Francoise Tellier-Loumagne lot of magazines in the Archive which Inspirational stitches, textures and the Guild has bought over the years. surfaces. A creative and inventive They take up a lot of room and are overview of stitches and fabrics, both very rarely if ever asked for. So the hand-knitting and machine-made, Committee has decided to sell the presenting hundreds of sumptuous ones that we don’t want to keep at the ways of working with yarn, from silk Guild meetings. They will be sold for thread to Shetland wool. The stitches 10p each and any that are not sold that are described are accompanied will be re-cycled. (Some will have by photos of the textiles, detailed been sold at the May meeting). diagrams and written instructions. Over-due books: 1000 Patterns Another reminder to those of you who General Editor: Drusilla Cole have discovered that you have some to 1000 Patterns is arranged by period bring them back, please, and certainly and style, from the ancient world by July otherwise there will be a fine! to today. It shows every pattern in superb full-colour artwork, indicates Jean Derby how and where used, and describes what the patterns meant to the people who used them.

Ply-Split Braiding Author: Julie Hedges An introduction to Designs in Single Course Twining, including cord- making methods. Included are the techniques, getting started with ply- split braids, and the designs. Page 21 Warp and Weft Issue 226

Future meetings Alain Rouveure: Tibetan Rugs in Exile June Alain Rouveure owns galleries in the Moira Diane Wood: Linen from Cotswolds which house an unusual inspiration to finished cloth and affordable collection of Moira studied woven textiles at the Tibetan rugs, Surrey Institute of Art Himalayan textiles and Design at Farnham, and Tribal Art. completing her degree in During his twice 2002. She is a spinner and yearly visits to the weaver working exclusively Himalayas, Alain Rouveure collects with flax fibre and linen works from craftsmen he admires and yarn. Moira says: successfully sells them throughout “Working with flax and the world at exhibitions, and at his understanding flax as raw impressive Cotswolds Galleries. Most material is at the heart of my work. of what is on sale is commissioned by I transform the fibres into yarn, him and collected at source, especially designing and developing my own his Tibetan rugs. signature yarns with different qualities Alain Rouveure believes that and twists, before weaving up into ‘business' does not have to be driven linen cloth. I use the traditional linen by ‘profits at all costs’ and as a result, finishing process of beetling and new or old, each item in his gallery is burnishing. These alter the structure unique and has been selected for its of the fibre, opening it up to the light, quality, its obvious visual appeal and and give the finished cloth a beautiful very much for the ethical nature of sheen. My work is hand-made, its production and provenance: no individually designed and exclusive. It child labour, no harmful chemicals, is at home in both contemporary and a minimal impact on a fragile traditional settings.” environment and no looting of temples in search of antiques.

July

Page 22 June 2007

August the way it hangs and flows affects the way people move. Silk and wool are Geraldine St Aubyn Hubbard: My Work my favourite fibres because of the way they reflect or absorb light, providing Geraldine was contrasting surfaces in the fabric. The brought up cloth is made very much to be worn in Bosham, and apart from scarves, the shapes educated in chosen are simple and will, hopefully Chichester and transcend swift fashion changes” now lives and works near September Chichester Harbour. She Jun Tomita: – Japanese Ikat and studied at Inspiration Goldsmith’s College, London Jun Tomita and at the Surrey Institute of Art studied at the and Design, Farnham where she West Surrey was inspired by Ella McLeod, Susan College of Art & Bosence and Morgudd Roberts. Design and has After leaving college she started her participated in own workshop making cloth. She Exhibitions all has a particular sensitivity to fibre, over the world. choosing to spin certain yarns by hand His work is and a passion for colour, doing much included in many of her own dyeing which gives great collections such flexibility in design. at the Stedelijk She worked with Ann Sutton on Museum, Amsterdam, Victoria & one of the BBC TV programmes ‘The Albert Museum and the Denver Art Craft of the Weaver’ and afterwards Museum. He has taught at the Kyoto on the accompanying book. College of Art and has work on She has taught textile history at permanent display at the renowned Farnham and spinning, weaving and Tawaraya Ryokan in Kyoto. dyeing at West Dean College. Jun Tomita says:. “I am addicted to fabric, its “I will talk about my work from colours and textures. It is painting the very beginning to the most recent, in the form of stripes and blocks the things and people that influence of colour, abstracting ideas from me, and the things I love, as well as my surroundings. When cloth is the technical side of my work” worn the quality of its movement is governed by its weight and the way it Marianne Medcalf, is constructed. How a fabric feels or Page 23 Warp and Weft Issue 226

What’s on in textiles and located near the site of the original Great Exhibition of 1851, the until 23 June extra space will enable the RCA to show the work of the entire Colleges’ Sachio Yoshioka a master dyer from graduates at the same time. The Kyoto (featured in Selvedge 011) show will feature the work of over gave a very interesting lecture and 400 students from Schools of Fine & demonstration re using natural dyes. Applied Art, Architecture & Design, He has an exhibition on now at the Communications, Fashion & Textiles Livingstone Gallery, New End Square, and Humanities. Hampstead. Free guided tours at 1pm and 6pm on weekdays, 12 noon on weekends. until 30 June Friday 15 – Thursday 28 June 2007. Open 12 noon – 9pm daily, except for An exhibition of Dorza crocheted hats 26 June when the exhibition will close from Ethiopia at Joss Graham Oriental at 5pm. Textiles, 10 Eccleston Street, London Sarah Lowry, a London Guild SW1. member, is just completing her final year at the RCA and her work will be 15 - 17 June on display at the Exhibition.

Artists at Home: Bobbie Kociejowski 27 - 30 June and 3 - 7 July

59 Emlyn Road OPUS summer show exhibition of London W12 9TG degree students work - embroidered www.artistsathome.net textiles 27th - 30th June. Opus - Pathways Student work 15 - 28 June from the City & Guilds certificate & diploma courses for embroidery, The Great Exhibition 2007 patchwork & quilting 3rd - 7th July . The Royal College Of Art Summer Show Both at the Mall Gallery, the Mall, London SW1 To celebrate the 150th anniversary of the establishment of the Exhibition Road area, which was created 5 - 8 July following the Great Exhibition of 1851, the RCA will be holding an even The New Designers - Business Design more spectacular Summer Show than Centre, Islington. Week 1 Textiles, usual in a huge tent in Kensington Ceramics, Jewellery. Gardens, running simultaneously with an exhibition in the College galleries. Supported by The Conran Foundation Page 24 June 2007

16 - 19 August 11 - 20 October

Festival of Quilts, NEC Birmingham info www.twistedthread.com Shades of Autumn By way of a reminder, the Guild will 9 September – 20 October hold its own biennial exhibition at: Islington Council Kousa / Crossover Central Library 2 Fieldway Crescent Asako Ishizaki and Hillu Liebelt Two London N5 1PF textile/fibre artists from different continents Grace Barrand Design The title for the exhibition is “Shades Centre, 19 High Street, Nutfield, of Autumn” and entries should be Surrey, RH 4HH Tel. 0 73 782 2865 based around this theme in the main www. gracebarrand.com although other pieces may also be submitted for consideration, space until 24 February 2008 permitting. Since the last issue of Warp & Weft, we have now firmed Wrapping Japan up on the maximum number of pieces each member may submit, Discover the customs of Japan. which will be four, and for large Horniman Museum, Forest Hill, hangings, the maximum size that London SE23 020 8699 1872 can be accommodated is about 1m by 1m. Please contact me or any Contributions to What's On committee member if you require more information. What’s On in Textiles is collated by On the final Saturday, 20th Sharen McGrail and is supplemented October, we have hired an additional by material from other members. If room in which to hold one or possibly you know of any textile related events two workshops. The workshop topics or exhibitions in the London area that have not yet been set, so if you have a would be of interest to other members proposition to suggest, please contact please let Sharen or the editor know. me or another committee member. As the gallery space is not manned [email protected] by the library we will need to do 020 8521 0355 this ourselves with a rota of spinners and weavers. I will be asking for volunteers in the Autumn and hope many of you will be able to help out.

Allya Khan

Page 25 Warp and Weft Issue 226

Association AGM the events in London. It is always unfortunate when the AGM clashes The AGM of the Association of with the regular meeting schedule of Guilds took place on the same day as any Guild, and given the large number our April meeting, April 14th, when of Guilds involved, rather inevitable. I represented the London Guild as But it becomes much more difficult delegate with Anne Dixon as our to assemble a group of volunteers observer. Anne will therefore be our for stewarding if there is a meeting delegate at the next AGM in Scotland clash, so we asked for the date of in association with the Biennial the Association's AGM to avoid the Conference. We were both sorry second Saturday of the month. to miss Ptolemy Mann's talk, which Rather than pass the motion in sounded so promising, but sometimes its original form, and refer to a duty calls. fixed date, it was agreed (almost The original plan was to bring you unanimously) that we would agree to a sysnopsis of what was discussed and coordinate the dates between our two decided at the AGM, but since the organisations taking account of the early appearance of the Journal this availability of the Charity Centre as a quarter, which carries good coverage venue and exisiting speaker bookings. of the event on page 38, it seems If you have any other questions rather silly to cover the same ground about the Association's AGM, do twice. One point that doesn't come please ask. through from the Journal article is the fact that the Association's finances Brenda Gibson have had a very sigificant and positive turnaround in fortunes over the last Postscript: The minutes of the few years, which is very welcome and London Guild AGM will be included heartyening news. in the next Warp & Weft. But I should perhaps explain the background to the proposal that the London Guild put to the AGM, and the discussion and decision that followed. It has become the accepted norm to hold every second AGM of the Association in London, purely for the pragmatic reason that London tends to be easier and cheaper for travelling from disparate parts of the counrty for delegates. It has also been tacitly agreed that London Guild would steward and help coordinate Page 26 June 2007

Opinions Articles for Warp & Weft

The committee is not responsible for Articles should be: the opinions expressed in Warp & 1. submitted by email, either as a Weft. Nothing may be copied without Word, RTF or text file attachments the permission of the editor. Where a (or even in the body of an email); communication to the editor or any 2. sent on a disk (floppy or CD), as a of the officers requires a reply, please Word, RTF or text file; email or enclose a stamped addressed 3. printed out or typed in as large and envelope. clear a typeface as possible, with no end-of-line hyphenation, so Warp & Weft Online that they can be scanned instead of being re-keyed This edition of Warp & Weft is (in order of preference) and sent to available in colour in a private the editor. members’ area on the London Guild website. Members whose email Copy Dates addresses are known are sent a Username and Password that enables Warp & Weft is produced quarterly access to the private area of the site. in March, June, September and If you have internet access but do not December. All contributions have the access details, please email (including advertisements) must reach webmaster@londonguildofweavers. the editor by: org.uk. 1st February for the March issue 1st May for the June issue Advertising in Warp & Weft 1st August for the September issue 1st November for December issue Warp & Weft accepts both display and classified advertising at the Editor editor’s discretion. The cost for display ads is £15 full page, £10 half Vacancy – please contact the Guild’s page, with a reduced rate for four Chair, Jenifer Midgley, or any consecutive issues of £50 and £30 member of the committee if you respectively. A layout and setting would like to put yourself forward service is available if required, cost for the role or if you could contribute £20 and £10 respectively. Small (ie in some way towards it. You can classified) ads cost £5 (members) and continue to contact Warp & Weft at £7.50 (non-members) for up to 25 [email protected] words. Adverts must be prepaid by postal order or cheque made payable Guest editors for this edition: to “London Guild of Weavers”. Send Ann Brooks and Jenifer Midgley copy and payment to the editor. Contact details on page 2 Page 27 London Guild of Weavers, 14 July Spinners & Dyers Alain Rouveure: Tibetan Rugs in Exile Programme 2007 Journey Through the Himalayas in Search of Ancient Rug Weaving and 13 January Vegetable Dyeing

Jenifer Talbot: Ghosts of Ancient Textile 11 August Workers Geraldine St. Aubyn Hubbard: My Work 10 February 8 September 10:30 Spindle Spinning Workshop £7.50 2:30 Stacey Harvey-Brown: Ever Jun Tomita: Kasuri - Japanese Ikat and Increasing Circles Inspiration Subtle Influence of Designs and Syncronicity 11 - 20 October

10 March Exhibition: Shades of Autumn held at Islington Central Library AGM 13 October 14 April William Jefferies: From Inspiration to Ptolemy Mann: The Dynamics of Colour, Tapestry Architecture and Woven Textile Art 10 November 12 May Tim Parry-Williams: Hand, Heart and Edna Gibson: History of Handknitting Machine

9 June 8 December

Moira Diane Wood: Linen from Annual Competitions and Christmas Inspiration to Finished Cloth Party

All meetings are held at St Stephen’s House, 48 Emperor’s Gate, London SW7 and start at 2:30pm, unless otherwise indicated. See www.londonguildofweavers.org.uk for additions or updates