Now seems an appropriate time to write this article. I am
sitting at the Blackwood St. Gallery at the Meat Market Craft
Centre in Melbourne, Australia, minding an exhibition of my current
work and that of a fellow textile artist. The response from people
visiting the gallery has been very encouraging. Sales have been
good. But is there a place for handweaving today?
Last year I travelled in the USA and Europe attending weaving
workshops and conferences. I was thrilled at the enthusiastic
and positive "vibes" at such gatherings. In America
particularly there seemed to be weavers everywhere and the associated
newsletters, journals, supply outlets and schools. While in Portland,
Oregon for example I stumbled quite accidentally upon "Ruthie's
Weaving Studio and School" nestled quietly in a residential
area. This was a well established and large studio filled with
floor looms. It catered to keen members of the community who
wished to learn weaving on a part time basis. The syllabus was
not structured - students were able to weave whatever they wished,
with guidance from the experienced teachers and support of fellow
students. There was apparently a four year waiting list of eager
students! That reflects the interest in handweaving in Portland,
Oregon - a sample of America.
In Europe I visited towns that had special outlets for the
sale of handwoven goods. Lubeck in Germany for example, had a
very strong textile history and the local council had recently
initiated projects to encourage weavers to establish studios
there. What a great idea!
But is this only feasible in countries with a large population?
Is there proportionally the same interest in hand weaving in
Australia, but not as obvious because of the smaller numbers?
If this is the case, there must also be a proportionate number
of interested buyers of textiles, informed and aware, who recognise
the quality and speciality of a well designed and well made handwoven
piece. I'm sure that there are people who willingly spend hundreds
or thousands on designer label clothing because it is unique
and (hopefully) well made. Hand weavers need to target these
people and educate them as to the quality and beauty of handwoven
products.
The possibilities available by extending handweaving, and
going beyond accepted forms, should also be promoted. These possibilities
are endless. Why limit ourselves to "only handspun"
or "commercial warp but hand spun weft" etc. Handweaving
can include absolutely anything as warp and weft as long as the
two are interlaced. I am currently experimenting with weaving
copper wire, for lustrous effects in clothing (it can be sewn
and washed) and also for sculptural effects. While this may not
appeal to everyone, it opens up the mind to what is possible
with handweaving and may lead to discoveries or opportunities
not considered before. Why limit or label handweaving according
to the materials used? This must surely limit the numbers of
people interested in handweaving and possibly discourage new
weavers. There should be no limits! This is perhaps not a new
idea to many handweavers: those busily working away in their
studio creating amazing pieces and satisfying a niche market.
I am probably preaching to the converted.
My concern is that the face of handweaving presented to the
general public is not necessarily representative of what is possible.
Do we place too many restrictions on what is accepted (and sold)
as handweaving? Where do we draw the line between parameters
for the sake of guidance, and rules that are too restrictive?
Experiment with new materials and techniques, and accept work
that shows experimentation. If a creative product is well known
and aesthetically pleasing, it will still show handweaving in
a favourable light. This should be the main priority, rather
than "Did you spin the yarn, with wool from your hand shorn
sheep, after raising the sheep from a lamb, which you suckled
at your own breast....etc." (forgive my exaggeration to
make a point). While there is a place for some specialty work
such as this, handweaving offers much broader options, and should
be promoted in this way. Such an approach could increase the
appeal and recognition of handweaving among the general public,
fashion and interior designers, and cloth manufacturers. To ensure
the acceptance of handweaving by craft shops, boutiques and galleries
(and who knows where else?) of the future, it seems important
now to keep an open mind.