I finished the last fringe on those 8 samples I’ve been making for the Manitoba Museum. This project has been sponsored by Manitoba Culture Heritage and Tourism, by Manitoba Artists in Healthcare, and by the St Boniface General Hospital. They were woven using a fine 2/8 worsted wool (with one exception). I’ve been working on this since September of 2007 The 8 samples, again, close up, include
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The David Thompson Brigade arrived on a beautiful day at the Forks in Winnipeg, June 11, 2008. I was there on the Quai to greet them. It was a pleasure to speak with these dedicated folk who have paddled from Rocky Mountain House, Alberta, en route to Thunder Bay, Ontario. Still working on those pieces for the Manitoba Museum. I completed weaving the third sample of the Assomption variety. This one is sewn down the middle: Saturday morning I give a fingerweaving workshop at the Bibliothèque de St-Boniface, the St Boniface public library, then I head out to Convergence 2008.
Sunday, June 29, I will be in the Twin Cities area of Minnesota, Historic Fort Snelling to be exact. I will be demonstrating and teaching fingerweaving. And it’s a booklaunch. During the month of July I will be teaching basic fingerweaving to French teachers at the St Boniface College here in Winnipeg. I’ve been having internet trouble. Ended up having to get a new modum, and the new one seems to have a mind of its own, cutting out at times. Luckily it was working last evening when I received a special e-mail. I initially thought was a hoax. So glad I responded, because I had a lovely chat later in the evening with Ray Mears of the BBC in person in downtown Winnipeg. He’s on a reconnaisance mission for a BBC series on Canada. A most interesting chap. Who knows what tomorrow will bring. I just got back from the Center for Rupertsland Studies Colloquium in Rocky Mountain House. So much information! Such interesting people! Now back to work on that 3rd variation of the Assomption Sash. This is the one that’s done in 2 parts, with a seam down the middle. The colors were hand dyed. I did a bit of back-and-forth to the museum, comparing with the original. The colors are not a perfect match, but pretty darn close. Yes there’s a hot pink in the original sash at the Manitoba Museum.
In my ‘spare time’ I’ve been working on some sprang. I’m hoping to finish a multi colored shawl, trying out various techniques and patterns. I think if I set a row of tassels along the lower end, it should hang open when I wear it. Booksales are going well. Over 400 sold in less than 3 months! Get your copy now while supplies last. Only 1000 were printed. Well, I finished that Assomption swatch, and did another one of a related pattern. Both Manitoba Museum and Musée de St-Boniface have sashes that are very loosely woven, in the Assomption (arrowhead and lightning) pattern.
The sash I wove last year has been framed beautifully and installed in the hallway of the St Boniface General Hospital. Included inside the frame is a plaque describing the project “Fragile threads when combined become very strong cloth, thus the sash symbolizes the uniqueness of the individual and the value of teamwork.”
I’m putting together my presentation for the Centre for Rupertsland Colloquium in Rocky Mountain House next week, May 14-16. I will present the paper I wrote for the Museum of the Fur Trade Quarterly, Spring 2007, that is, how to distinguish fingerwoven from loomwoven. And I’ll get to see the mountains again. The end of June I’m planning on attending the Handweavers Guild of America’s Convergence 2008 in Florida. I’m looking forward to learning lots of new techniques. Dr. Katherine Pettipas, Curator, The Manitoba Museum writes:
This publication is welcome addition to the literature on the ancient craft of finger weaving. Carol James, an accomplished Winnipeg weaver and teacher, has dedicated over 20 years to the art. Her knowledge and sash reproductions are based on the detailed study of historical artifacts that are housed in various heritage institutions such as The Manitoba Museum and the Musée Saint-Boniface. Beginners and experienced finger weavers alike will appreciate this well-illustrated “how to” guide that not only presents the basics, but also guides the user through the complicated art of “trouble shooting.” This type of information sharing is only possible from Carol James’ years of experience as highly skilled weaver and outstanding teacher of the craft. Gabriel Dufault President Union nationale métisse Saint-Joseph du Manitoba writes: In an easy to understand format, Carol James has demystified the fascinating art of finger weaving, particularly that of the taditional sash. Through illustrations and clear explanations, she makes it relatively simple for the novice to create his or her own heirloom. Her many years of experience with her craft brings to the reader the required assistance and reassurance that they also can explore their creativity. Excellent resource material! Marie Zorniak Grade 4 teacher Strathcona School Winnipeg Manitoba writes: Carol has a talent which transcends her delft fingers as she spins and weaves wool. Carol is a patient teacher who shares her weaving knowledge with young students and is as excited as the children when they see their first threads become a pattern. This book of wonderful information helps to unravel the technique of finger weaving in a clear and concise manner. Carol is a master weaver who brings threads of wool to life as they dance in patterns as she weaves. This book reflects the simple and clear way that Carol teaches this art Carol’s quiet way of teaching as she passes her knowledge on to students makes her an honoured guest in my classroom. Students delight in the process and the making of their projects.Carol’s book is reflective of the learner and their new found skills as she takes them on a journey of discovery. I’ve been teaching fingerweaving for some time now. My students have encouraged me to publish the ‘handouts’ in book form. It was a small project that really got out of hand. It’s now a full color 64 page book, entitled
Fingerweaving Untangled, an illustrated beginner’s guide, including detailed patterns and common mistakes. The book provides two methods for fingerweaving, a beginner’s method and an advanced method. It is well illustrated with step-by-step drawings and photos, vetted by a wide variety of students of varying abilities. Also included are photos of museum-pieces, and sashes I’ve woven, illustrating the techniques, patterns, and common mistakes. This way you can do-it-yourself for that sash you’ve always wanted. Halfway through my weaving project, I’ve been encouraged to post a blog, to help keep the world posted on my project. I’ve set out to make a set of sash samples using the fingerweaving technique, representing the variety possible within this technique. There will be 8 samples in all, based on actual sashes found in museum collections across North America. Each sample will be aprox 18 inches (35 cm) long. The samples will be handed over to the Manitoba Museum. The project is supported by Manitoba Artists in Healthcare, and Manitoba Culture, Heritage, and Tourism. I started in November, 2007. I have completed 3 of the pieces, and am working on number 4. Here’s number one, from November, 2007. It’s a ‘W Pattern’. A Rindisbacher painting of life in the Red River Settlement depicts a Métis man probably wearing a sash of this pattern. Number 2 was woven during the month of December, 2007. This piece is based on a sash in the Manitoba Museum collection, a classic ‘Long Flame’ pattern. The third swatch is the ‘bias weave’ or ‘oblique’ method. White beads create the pattern. The fourth sample is known as the double arrowhead. These samples are all woven with a fine 2/8 worsted wool. I respun to tighten the twist, to help the wool stand up to the fingerweaving process.
Tomorrow, March 3, I will visit Friesen’s Press, to watch the pages of my book roll through the presses. |
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