The books feature the eponymous China Bayles who quit her law practice to run a herbal garden and gift store and who with her flamboyant, crystal gazing and occasionally clairvoyant friend Ruby solves local murders and mysteries. Sounds a bit famous five I know but they are well written, interesting and entertaining books, each one focusing on a particular herbal theme and usually containing a few interesting herbal recipes and folklore and sometimes a few spinning and dyeing themes. However you don't have to read the books to appreciate the web site. There's a good lot of culinary and medicinal recipes, growing hints and every so often something for spinners and weavers such as the following:
]]> Gold to Dye ForThar's gold in that herb garden! Marigold, that is (Tagetes sp), which dyes wool and silk in shades of yellow and gold.
To dye an ounce of fabric or yarn, start by soaking it while you and your kids go out to the garden and pick an ounce of flowers. Bruise, then place in an old non-reactive pan (one that you don't use for cooking), cover with water and simmer for a half hour, replacing water that boils away. Strain and let cool. Squeeze the water out of the soaked fibre and place in the dye bath. Simmer until the colour is a little darker than you want, then let cool in the dye bath. Rinse and hang in the shade to dry. For a more permanent colour, you'll want to use a mordant, such as alum. Wild Colour, by Jenny Dean, will teach you how to do this, and lots more!"
]]>Enabling women is very important in South Africa and in 2000 Sister Sheila and a group of people wondered what they could do to help groups of grannies who have to raise their grandchildren after their parents have died from AIDS related illnesses. Some of the children also have AIDS.
]]> Just outside Johannesburg they found some land with an old building and were able to rent it. In 2001 the project began teaching women with little education how to sew. They set up a trust, taught some of the women to use bankcards and keep records, learning as they went.The first skill they taught was embroidery which Sister Sheila had to learn first so she could teach the women. The reason they started with embroidery was because the materials were cheap. They meet three times each week, walking to get there (some 5 or 6 kms) and start the meetings with singing and dancing. When they gather around the tables there is a mixture of skills so the more experienced help new ones. Traditionally the work is done on black cloth with vibrant colours in the embroidery. Mostly the work is embroidery but some ladies do very intricate beadwork using traditional patterns.
60% of the profit goes to the women and 40% goes to running the trust. The trust has 49 permanent members, 20 training plus 12 Ndebele ladies who will take the skills back to their groups. In all 650 people are supported. The lives of many women have been transformed by teaching them a skill which allows them to earn money.
The second part of the project We love the children orphan care centre is a drop-in centre for kids up to 6 years who attend the centre daily and after-school care for older children. Day care children have breakfast when they arrive. After-school children line up for lunch and then play sport or learn art. Some of the children sent their art work to the Sydney Parliament House exhibition and to an exhibition at the Beijing Olympics. Because their diet is so bad an organic garden has been started and they feed 500 orphans daily.
Santa Sabina College takes a group of year 11 and 12 students there each year. They help in the kitchen and with other chores.
If you are interested in more information and photos go to www.pokanang.com.
The Trading Circle, 27 Lackey Street, Summer Hill sells their work.
]]>Other groups demonstrating included the Knitters Guild and the Embroiderers Guild, as well as a number of crafts people selling their wares.
]]> We were somewhat limited in space, having only one table, but managed to set up two inkle looms, to make room for my wheel next to the table and to knit and make braids.There were a number of families with children in the store and Diana and the other ladies from the Braids Group guided the children in making their own friendship bracelets. This was very popular as it is interactive and the children were able to take home a piece of work that they had completed.
The spinning wheel attracted a great deal of attention, from children who had heard about them in stories, to a third year university student who wanted to know where Sleeping Beauty pricked her finger and a surprising number of men, who were no doubt interested in the mechanics of the wheel.
We had some interest from people who wanted to join our Fibre Friends email list to hear more about what the Guild is doing, including a final year Industrial Design student who is keen to learn spinning and weaving, but who cannot do so this year because of the workload at uni.
A young member of the Knitters Guild (who is also a member of our Guild) told me that she started a fibre arts group at Macquarie University (where she is a student) with twenty friends, and that, after demonstrating knitting and fibre arts at Orientation Week, the numbers have grown to 57. The interest in fibre arts seems to be there in the younger generation, it seems to be a matter of finding the best forum to reach out to them.
]]>Fibre and textiles must be the main focus of all work, but choose work that reflects the book's concept of Fibre Design.
Categories: 3-dimensional work, basketry, needlework, paper and felt, surface design, quilting, 2-dimensional work, tapestry and wearables.
Entry form and guidelines available on www.tafta.org.auor from PO Box 38, The Gap, Qld 4061 (send SASE)
Submission deadline: 1 September 2010
]]>The 1st Tamworth Textile Triennial will provide a forum to explore current issues and trends in textile practice in Australia. Tamworth Regional Gallery will work to develop stronger links with Asia and is committed to build the profile of the exhibition and engage with a wider audience.
Expressions of interest are encouraged from a variety of disciplines, age groups, emerging artists and established practitioners.
Stage One (February to July 2010) when artists are invited to submit an expression of interest by providing:
The closing date for expressions of interest is July 30, 2010.
Stage Two, September to November 2010: Artists selected in Stage One will be invited to submit a detailed proposal in response to a theme to be determined by the curator.
Stage Three, November 2010: Artists selected for the first Tamworth Textile Triennial will be advised by the end of November 2010.
]]>Students are encouraged to design and make an outfit that is entirely, or mostly, made from materials that were originally bought and used for a non-clothing purpose, eg discarded DVDs, video or audio tape, chicken wire, fly screen, wall paper, kitchenware, cutlery, plastic bags, office supplies, polystyrene packing, car seat belts, etc.
Be inspired by Australian animals, living or extinct. Let the shapes and/or colours and/or textures of them influence your design in visible ways. Outfits should strongly and obviously make a point that biodiversity and sustainable fashion are wonderful and wanted.
]]> The judges are people involved in the eco-fashion movement. Every entry will be judged on originality, style, proportion of materials that were originally used for a non-clothing purpose, craftsmanship.Ten finalists from each category will be chosen to parade their outfits at the Australian Museum on 27 May. At least one photograph of every finalist's entry will be published on the Australian Museum website by June 2010. The awarded outfits will go on temporary public display at the Strand Arcade, and later at the Museum.
When: Entries close at 5pm on Tuesday, 6 April 2010
Info: Jane Johnston, Learning Services, Australian Museum, 6 College Street, Sydney NSW 2010
Her current work explores contemporary socio-political post-graffiti and environmental issues that tries to raise the consciousness of the viewer on contemporary issues. She employs various surface design techniques such as dyeing, over dyeing, discharge, silk screen printing, stamping, digital printing, dye sublimation and hand painting to explore some of these issues.
Marie-Therese does a large amount of research before creating an Artcloth. But on the days of creation, she leaves her mind outside of the studio and works intuitively. Diasetz Suzuki wrote: man is a thinking reed, but his great works are done when he is not calculating or thinking.
What is Graffiti Art?
All of us have witnessed the rise and rise of graffiti art. It has abounded on such surfaces as public buildings, pavements, fences, electricity poles and garbage dumpsters. Millions of dollars have been spent world-wide to eradicate it. It has been labelled as nuisance art by local governments, by the public, fellow artists and art critics alike. For example, in 2008 the Encyclopedia Britannica Online version has defined graffiti as a "form of visual communication, usually illegal, involving the unauthorised marking of public space by an individual or group." Although the common image of graffiti is a stylistic symbol or phrase spray-painted on a wall by a member of a street gang, some graffiti is not gang-related. Graffiti can be understood as anti-social behaviour performed in order to gain attention or as a form of thrill seeking - but in reality it is an expressive form of art.
In the last decade graffiti art has been recognised as a genuine art form. Local governments and building companies have now set aside public spaces for displaying graffiti art as can be seen in Melbourne's CBD in Hosier Lane.
Graffiti in terms of cave art
is defined as the inscriptions of figures, designs or words on rocks or walls or sidewalks. An image created on a rock wall is humankind's oldest form of graphical communication. Graffiti is the name for images or lettering scratched, scrawled, painted or marked in any manner on property. The term is now associated with the 20th century urban environment. Sometimes graffiti is employed to communicate social and political messages.
On the other hand, Post Graffiti is a reaction to imagery and marks that are illegally created on public property. It incorporates a plethora of materials and techniques that are cloth specific. Imagery has the feel
of, but is not graffiti. It is therefore a reaction against graffiti art in the sense that it takes elements from graffiti art but regurgitates these elements in an unstructured and unfettered manner.
In 2009, Marie-Therese was the curator of the inaugural international ArtCloth exhibition at Fairfield City Museum and Gallery. The exhibition is touring to Orange Regional Gallery, from 9 April to 30 May, Redcliffe City Art Gallery, Queensland from 12 August to 4 September and Wangaratta Gallery, Victoria from 11 December to 23 January 2011. Marie-Therese showed selected slides of works from that exhibition so if you can it would be interesting to see the originals at one of the galleries listed.
]]>How it works
At least 100 people involved in the community, with each person to make at least one item to donate to the Save the Children foundation. After, each person will be sent a thank you card.
How you can help
Most of the blankets will be sent to India where hypothermia is a serious issue for newborns, particularly those with low birth weight. Wool is preferred because it is fire retardant. Sew 16 (4 x 4) squares together to make a blanket for a baby or child.
For more information, to donate or to assist contact Esther Klintworth, esther.klintworth@iag.com.au
]]>It was a difficult job for our judge Denise Stevens, as several sections had over 20 entries and all the work exhibited was of a very high standard.
Our lovely display attracted many favourable comments and the area was abuzz with visitors enjoying the spinning, weaving, bobbin lace and felting demonstrations.
]]> Many thanks to the members of the Wollongong Hand Weavers and Spinners who demonstrated during both days, to Kris Supierz for teaching hundreds of children braiding, to members of the Lacemakers Guild for their participation and to the Illawarra Feltmakers who demonstrated and ran felt ball making workshops.Prizes were awarded to the following exhibitors:
Beverley Thompson, Susan Rodgers, Maureen McCutcheon, Ingrid Wass, Barbara Wyles, Brian McCarthy, Evie Zwart, Luidmila Abramova, Agnus Tukk, Shirley Connor, Eleanor Brash, Melinda Binkins, Diane Henderson, Christine Talbot and Julie Vine.
The major prize winners were:
Congratulations to all the winners and entrants for their support in making the Kiama Show Spinning and Weaving Section so successful.
]]>But Mr Friar is no dealer, and this is no underground plantation. The 66-year-old and his wife, Wendy, are the proud owners of Australia's first licensed industrial hemp crop to be grown in an urban area.
"I'd prefer you didn't publish exactly where we are," he says.
"Even though this is no good for smoking, you can imagine what would happen if people found out."
The Friars are hemp evangelists, firm believers in the world-changing potential of this most versatile of plants, which can be used in everything from food to fabrics and building materials.
With permission from the Department of Primary Industries, they are in the first stages of a pilot project aimed at teaching farmers how to grow hemp and commercialise its myriad byproducts.
Weed is good - hemp comes to the city — Sydney Morning Herald
]]>The bureau announced last week that labels and advertising have been corrected on 450,000 textile items, as well as on 250 websites that sell clothing and textile products.
The changes came after an investigation in the U.S. and Canada found that rayon derived from bamboo was no more natural or environmentally friendly than rayon derived from oak and beech trees.
Bamboo textiles no more 'natural' than rayon — CBC News
]]>The Award defines lace as an openwork structure whose pattern of spaces is as important as the solid areas. Approximately 30 works will be selected for consideration for exhibition in July 2011. The selected entrants will have time to develop their proposed work from May until November 2010.
Expressions of interest close: 29 March 2010 by 5.00pm
Info: Powerhouse Museum International Lace Award
work must have been finished in the 12 months prior to the show. Check the Craft section of your schedule carefully. If there are no General Regulations then read the information and requirements set out for every individual class you are interested in. If you are required in any class to include information such as
state purposemake a neat, clearly printed or written label which indicates a
professional standard of work.]]> In most schedules for spinning and weaving there is usually a statement
All skeins to be washed free of grease. Spinning entries should show a consistency/evenness of yarn diameter along with a consistent angle of twist suited to the end use stated.
An example of a spinning class
A specimen of fine hand spun wool, hand prepared and plied. Not less than 50gms. State purpose. Include fibre sample.
This class requires a yarn made from at least 2 (easiest) singles spun from fine wool which has been hand prepared
(meaning commercially prepared wool top is not acceptable.) Hand prepared
: easiest way is to use hand carders or a drum carder. Fine wool
is usually between 18/19 micron or less and is most commonly fine merino. The washed skein needs to be over 50gms (so either wash your fibre before spinning and weigh out at least 52/54gms to be able to remove short cuts etc during spinning - or spin at least 60gms of unwashed fibre to allow for loss of weight with washing. The fibre sample needs to include at least two staples - this could be washed or unwashed.
Stating purpose - requires the potential use for such a yarn such as knitted fine lace collar
, or knitted lace wrap
which would require more yarn.
An example of a weaving class
Hand woven floor, travelling or knee rug. Entrants to supply a sample and description of each different yarn used. A description of weave used relevant to the end use of the rug is required.
Even though the class does not require it, a short statement of the selection of colours relevant to the weave and total design of the rug would assist the judge.
Present your entry in a professional manner - no unmended weave errors, finish off yarn ends, ensure the rug is the planned size all over, not bundled up and creased from transport and cover any sewn on label of the makers name. If made specifically for someone according to their own colour preferences just state that to assist the judge.
Felting
Many shows provide only one class for felting which can be - flat felting, 3 dimensional felting, nuno felting using a background fabric which can be partially covered with felt or totally covered with felted wool, needle felting and felted knitted articles such as bags. Some other shows offer two classes - one for wearable felt garments including hats and the other for non wearable felted articles such as floor mats, bags, dolls and jewellery.
The felt needs to be of a suitable thickness for the specific use and felted so that it will not pill with use nor fall apart. The use of colour and quality of design along with an appropriate thickness or thinness is most important. Ensure a professional presentation by stating the planned usage of the felted article, a brief relevant reason for the shape and highlighting any special feature or structure as a clear, small label attached to the article (easy to read).
Braids and woven bands
Require the selection of suitable yarn, the evenness of pattern and edges, end finishing (preferably weft woven in and not hemstitched.) Ends must be secure and allowance made for properties of both yarn and fibre when used. A neat, clear label stating the fibres/yarns used and the end use of the braid or woven band needs to be attached. A useful reference for both Braiders and judges is Byways in Handweaving by Mary Meigs Atwater.
groups.yahoo.com/group/Sprang_List
The owner of the list, Franco Rios, has a web page with lots of fibre related links: Rabbit Geek: Links Fiber Related
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