Oh jeeze…i was working between my phone and my laptop to write this post and I accidentally published it in an incomplete form. So if you subscribe by email, you got a notification that once you click on, is no longer there. oops..sorry. Anyway… onward!
Friday night I will be doing a Parents Night event at a private school in Los Angeles. As always, preceding such workshop, I am in prep mode. Each workshop event is unique. This one might be a little more so than usual. There will be 30 people for 3 hours! Each will make two shibori cotton kitchen towels.
Designing an indigo shibori workshop with these sorts of parameters is a challenge. Of course, the main challenge is to see that everyone can achieve a good outcome. Then perhaps to tempt them into further explorations in shibori, having only scratched the surface in this brief 3 hour encounter. From what I understand, it’s also a parents night out and partially a social outing. Maybe some will only make one towel in that period of time- it will kinda be up to them.
For this short workshop I have chosen cotton kitchen towels as the canvas for their indigo shibori experience . Who can’t use a new kitchen towel? The cotton is almost sarashi type weave, but hemmed all around, and 28″ x 28″. Throw them in the wash and wipe the floors with them if you like. A practical item.
Next, the challenge is to come up with several suitable design ideas that are simple and practical for the complete novice shibori practitioner. Designs that 30 people with two towels each can accomplish in 3 hours. Maybe.
This sort of an event can be a little difficult for me to predict what the energy in the room will be when people arrive. I don’t know the room but am assured there are tables & chairs for 30, as well as work space and sinks and water. It’s a Friday, people are tired, looking forward to the weekend with their families I would think. I will watch and listen as they arrive and read the room. Adjust accordingly. Give them what they need and send them off into the weekend with a couple of indigo shibori towels they made themself! Sounds like fun!
Here’s a quick couple of photos of the samples I made as samples. Two are shown as towels and the third uses the towel as furoshiki- quite versatle!
I’m putting together all the additional supplies, filling orders, & moon making tomorrow. Orders on moonsets got ahead of inventory. Also, life in general.
You might enjoy this pic from Sunday evening.
And in between this and that, I dug this out to start finishing up. Lots more stitching to go, but I resolved the edge. Backed with old Japanese jacquard silk that I indigo dyed a while back. The backing itself is wonderfully soft. Several different patterns are stitched together. One has cranes woven into the silk. Self binding- all by hand of course. To me it’s more fun that way. Of course I want to spend days on it right now but other duties call. Oh, and if you don’t recall from previous posts about this piece, all the shibori pieces in this are demonstration sample pieces I dyed in workshops.
Caught some wind in my sails and I’m busy prepping the studio for the workshop this weekend (lots of cleaning!). There are folks coming from NY and TX plus a couple from here in CA. Prepping equipment, materials, and space.
I had a need for a couple of new moons for something I’m working on so made a batch for us all. I’ve got 10 sets of five in the shop so please help yourself.
When I’m dyeing the moons, I’m reminded that the majority of humanity can look up and see the moon and wonder. I try to remember to look up every night or day to catch a glimpse.
As for the cloth, old silk, cotton, hemp, wool pulled from my “save for moons” clothbox. Several special fabrics were used in this batch but one stands out for sentimental reasons. It’s a simple cotton toweling that had a sweet embroidery in one corner and along another edge there was my mothers name written in black marker. Most likely a practice piece done at the instruction of Nana, her mother.
So not sure the backstory but I saved the embroidery section to use elsewhere and used the rest do dye these moons.
As a followup to the last post, I continue with the weaving portion of my trip to Amami.
On the way to Higo Dorozome Friday, I saw a sign that read “Oshima Tsumugi Village” so we decided to start there on Saturday. I didn’t realize until afterwards that this is where Jackie did her mud -dyeing workshop (we later compared notes). Since I had already done the sharimbai/dorozome workshop we opted for the basic tour and focused on weaving. They have a good but short tour of the weaving process but the real highlight was the addition of a weaving session on one of their looms where you could weave and keep a length of Oshima silk tsumugi. This was purchased at the beginning of the tour with the entrance fee.
Of course, the plain weaving of a piece of silk oshima tsumugi is a fairly basic process even for a novice. The real work as most weavers know, is in the preparation of the warp and the set-up of the loom. Oshima tsumugi takes this to new heights with its complicated pattern drafting, the precise dyeing of both the warp AND the weft threads prior to measuring and warping the loom. In addition, starch is also applied to the silk threads prior to “shim-bata” weaving as well as after the dyeing prior to warping. the starch or glue is made of specific types of local seaweed.
The process of dyeing the threads: Prior to the late 1800’s, the threads were wrapped with banana plant fiber to resist the dye and form the kasuri patterns. Other methods, from various areas dyeing resisted threads for kasuri weaving, include tying and clamping the threads, but in 1907 two men from Amami in Kagoshima prefecture invented a new method. This consisted of weaving the warps and the wefts temporarily with cotton threads on a special shim-bata loom which resulted in more precise and complicated patterning as well as improvements in production quantity and quality.(The tightly woven cotton wefts over the silk warps resist the dye in shibori-like fashion.)
We saw the preparation of the warping threads-the weaving of the patterns from a precise draft of the pattern desired as well as the additional colored dyeing of the wefts post-dorozome dyeing. Apparently there are 28 (!)preliminary processes that take place in preparation of the actual weaving. Once the loom is warped (we did not see that process) the weaving begins and the weaver takes over. The weaver handles the shuttles adeptly and quickly, stopping every 7-10 centimeters or so to adjust the threads with a sturdy needle and correct any errors in the pattern caused by tension issues, by adjusting the warp threads before continuing on.
I was sat at a loom and after a brief instruction in Japanese and (international hand waving) I wove about 20 centimeters of beautiful plain woven silk, alternating shuttles filled with a variety of solid and multi-colored silk bobbins. It was like magic! The finished piece was a simple striped pattern and the resulting cloth was very smooth and lightweight.
It really is amazing how the skills for this type of silk fabric came to be developed, practiced and cherished by the Japanese of Amami Oshima and beyond. You can really appreciate the very high prices of this fine silk cloth once you have seen it first-hand. You can read about it, see photos & videos, but to experience it first hand- even for a short time is precious. One of the weavers told me she had been weaving for over 40 years. She said that anyone could do it but that it takes 4 years of 8 hours a day weaving to achieve the correct quality as a weaver of oshima tsumugi. I actually thought that might be understated. I told her I have a lot of catching up to do! The whole process is such a team effort and the failure of the materials or quality at any point in the process has the potential to ruin the work of all the prior steps taken by the other artisans to that point. Everyone is very focused on a good outcome.
A couple of other points to note- the silk used is not filature silk, meaning that it is not reeled from the cocoon. It is referred to as a yarn, meaning that it is spun from a silk like mawata. Apparently, sericulture was (is?) practiced on the island but I did not get to see any of that this time. Further research ahead… I’m interested in seeing how the silk used for the Amami oshima tsumugi is spun and prepared for weaving here, who does it, and where. Another note- during our tour of the tsumugi village, our guide/driver Kounosuke tells us that his mother was a weaver on the island before she had children (4). AND that his grandfather was a dyer….he has lived on Amami his entire life and had not seen the weaving process before.
About the guided tour at the Amami Oshima Village: If you are not there to do a workshop, the tour seems quite rushed. They have a specific amount of time devoted to each group before ushering them into the gift shop. I get the impression that there are a lot of casual tourist that go through there by the busloads in the high season. The gift shop does have two parts- the VERY expensive side featuring full kimono, full bolts of woven silk, obi, and various other very fine clothing items and also another side which is filled with fine but more affordable and smaller items- all beautiful and interesting to see. Kounosuke told us that the high season is of course Golden Week, July and August (when school is out and workers have vacation time) as well as during the Hatchi-matsuri or August festival. He said that was his favorite holiday of the year in Amami. Our other guide who did speak English was Yui who grew up in Yokohama (!)and came to live in Amami one year ago after visiting it on vacation. It’s that kind of place.
Here is a photo gallery from the tour:
As before- there is a lot of video to edit so perhaps on the plane I will do some of it. To follow, the rest of the day tripping around Amami and then time traveling again back to Kyoto.
Rather than going back in time to Kyoto at the moment, I’m going to skip ahead to Amami-Oshima and my visit here to see first hand the dyeing and weaving for which this small island is known.
First, a little bit about about Amami- this is the northern-most island in the Okinawan archipelago. Just south of the southern tip of Kyūshū, it is volcanic in origin, surrounded by coral reefs (reef break for surfers! ouch-or as Kounosuke says-surfers tatoo(scar). To the west is the East China Sea and to the west , the Pacific Ocean. We are in the northern part of Amami-Oshima.
Next, a little history from Wikipedia:
It is uncertain when Amami Ōshima was first settled. Stone tools indicate settlement in the Japanese Paleolithic period, and other artifacts, including pottery, indicate a constant contact with Jōmon, Yayoi and Kofun period Japan.
The island is mentioned in the ancient Japanese chronicle Nihon Shoki in an entry for the year 657 AD. During the Nara period and early Heian period it was a stopping place for envoys from Japan to the court of Tang dynasty China. Mother of pearl was an important export item to Japan. Until 1611, Amami Ōshima was part of the Ryukyu Kingdom. The island was invaded by samurai from Shimazu clan in 1609 and its incorporation into the official holdings of that domain was recognized by the Tokugawa shogunate in 1624. Shimazu rule was harsh, with the inhabitants of the island reduced to serfdom and forced to raise sugar cane to meet high taxation, which often resulted in famine. Saigō Takamori was exiled to Amami Ōshima in 1859, staying for two years, and his house has been preserved as a memorial museum. After the Meiji Restoration Amami Ōshima was incorporated into Ōsumi Province and later became part of Kagoshima Prefecture. Following World War II, along with the other Amami Islands, it was occupied by the United States until 1953, at which time it reverted to the control of Japan.
The beach near us (a one minute walk away) is filled with shells and bit of coral. Unfortunately, the daily tide seems to bring in many floating PET bottles as well. Not sure where they are coming from but it’s a striking reminder that even a place this remote is plagued with this problem. While I was here, I saw an article in the Mainichi that said that Coka-Cola will be begin using 100% recycled materials for a new product line in Japan with a goal of increasing that to more of it’s products in the future. “The Japanese government on Friday set a goal of reducing disposable plastic waste by 25 percent by 2030, and completely recycling or reusing all such waste by 2035.” (from the article) The Japanese are much more fastidious and organized at recycling their containers and trash than we are in the US. A very high % of people here comply with the rules of sorting trash and recycling. They do have a problem with over-packaging which is starting to be addressed. They are looking at banning single use plastic bags country-wide. While here, I carried a small nylon bag for any shopping and tried to get shopkeepers to not bag my purchases. It’s gonna be a hard learning curve here as they love to package but when they get on board I trust they will do it very well! But as Maura said today on her FB -WE ONLY HAVE FIVE YEARS! (Hi Maura- love you and all you do there in Kolkata and beyond…)
Now, back to Amami… My fascination with kasuri weaving (ikat) over the years has grown-perhaps with the decline in the actual making and appreciation of the skill it takes to do this type of dyeing and weaving. For those not familiar with kasuri, it is cloth with patterns woven into it that utilize resist dyed threads either for the warp, weft, or both. These pre-dyed resist threads create a patterned cloth that is further complicated by special and advanced techniques such as as dyeing both the weft and the warp (lining up the two to make sure the desired pattern is achieved), painting the warp directly before weaving, weaving the warp or weft (or both) before dyeing-then unweaving it to do the final weaving. This type of weaving can be done with various fibers but my main interest is cotton and silk. So many variations and advanced complications. It’s really all in the preparation of the warps and wefts as the cloth itself is a plain weave in most cases (always exceptions of course!). This is a simplified explanation and apologies to all serious weavers out there… I was tempted to come to Amami as one of the participants in the silk tour had me arrange an extension to Amami to do a little research into mud dyeing here-or dorozome as it is called in Japanese. (doro-mud, zome/some-dyed). Jacqueline Roberts had come on the tour once before and if you recall from several previous posts, she wrote the book “American Silk”. She has been doing other textile writing for journals and such and has done some writing on mud dyed silks of Canton, China. So, as I was doing the research and setting up the extension I was tempted to come as well since it offered not only dyeing, but weaving AND coastlines-sometimes surf-able as Phil would accompany me on this part of the trip. Perfect combination!
Yes, a bit of rambling here but hey-my blog, my ramble! Feel free to skip ahead to the pretty pictures (and there are many!) Soooo….upon arriving we had to figure out how to get around and where exactly to go. We stayed in an AirBnB so not central to anything except peace and quiet, the beach, and the ever-present walkable “conbini” (convenience store) and a bus stop (yay!). The AirBnB host’s manager offered to pick us up at the airport so off we went and arrived at our not so little spot on the beach. (the AirBnB in Ikebukuro was a postage stamp compared to this but of course was located in the city).
Our new friend (Kounosuke) who picked us up at the airport asked us how we were going to eat and get around and when I told him that we would figure it out- (combini) and perhaps hire one of the Amami guides I had seen online, he offered to take us over to the dorozome workshop the next day during his work lunch break where he works taking care of the elderly here on the island (a much needed service in this aging population). We took him up on his offer and he even took the next day (yesterday) off to guide and drive us around with an English speaking friend of his. What good luck we have! And that wasn’t the only good luck. It is the rainy season here in Amami and we had clear weather for the first 3 days and all through our adventures here. About an hour after returning to our Amamian Paradise yesterday it started POURING-with lightening and thunder galore and pretty much has not stopped- it’s still pouring out there right now-Saturday morning. The two of them are in their late twenties and great fun! I’m glad to pay them for their time and contribute a bit to the local economy. When asked, Yui told us that jobs were easy to get -elder care, resort work (as this is a popular place in July & August and during Golden Week), but pay is low- about half what it is in Tokyo area. Kounosuke is married with two small children.
So, now onto dorozome! I looked over the possible choices (there are only 2-3 on the island) and settled on one I thought would be interesting and different from the one that Jackie had participated in (we could later compare notes). We ended up going to Higo Dorozome. Fortunately we had Kounosuke to take us there since it was not at all on any beaten path. Not wanting to abandon us there, he arranged with the owner to secure us a ride back to a bus stop from which we could return. Phew! I had called ahead and told them to expect us around 2 pm and they confirmed that would be ok. There was no English spoken there at all. But dyers dye and words are not always necessary- we speak the language of the cloth… To give you an overview of the dorozome process before adding the gallery of photos and a few video- dorozome is done using wood chips of the Japanese hawthorne bush (sharimbai). This wood is used fresh (not old and dried) with the sap still in the wood. The wood is plentiful in the local area and after collecting, it is chipped. A huge basket containing about 300 kg. is lowered into a large drum of water and boiled and soaked for 4-7 days (unclear how long) to release the tannins in the wood. The heat comes from a wood burning stove that utilizes the used chips once they are dried- nothing wasted! A sort of fermentation takes place and I believe they also add lime (to up the pH) once the soaking is done and the solution is skimmed and moved to other vats. I was told that it is a fermentation vat and the smell confirmed such a notion. It is at this point the dye is ready to use. Cloth is submerged in the solution many times with additional rinsing in a lime rinse between each dip followed by spinning out. So, prior to the mud bath:
-submerge and work dye into cloth for 4 minutes -rinse in water and lime -about 30 seconds -spin out -repeat at least 4-5 times (for amateurs/workshop) -the final dip into the sharimbai is not rinsed in the lime solution-just spun out
Now on to the mud. The facility at Higo dorozome had a square steel mud vat for practical purposes. They may still utilize a spot near the river as well but for commercial dyeing these days, it behooves one to use more practical production methods. Remember- we are trying to make a living here and not just become a museum! The vat was thick with clay-like mud at the bottom and had to be stirred well with a paddle each time before use. Mud dyeing process:
-submerge cloth and swish around and squeeze for 1-2 minutes -remove and squeeze out -open to the air for a minute or so (oxidixing?) -repeat above 2-3 times -rinse in clear running water -repeat the above again -inspect and return to the sharibai bath for additional dips -then back to the mud. -final rinsing and inspection of the color before opening cloth
So prior to the beginning the dye process, I was directed to choose the item(s) I would dye. I chose a t-shirt and a hemp scarf. The pieces were prepared (bound resist). I just did a simple and quick shibori binding with elastics provided. Interestingly the cloth was not wet out at any time prior to dyeing (as in indigo dyeing). Then it was on to the dyeing…see above.
More about the dorozome dyeing…the sharimbai (Japanese hawthorne) is full of tannin which is mordanted with the lime. I also read somewhere that wood ash is used in the vat but did not confirm that at Higo. The clay/mud is a dark gray full of iron which reacts with the tannins and darkens the cloth- just like when you use iron water in botanical printing or natural dyeing. Lime is abundant on Amami which has some limestone caverns and even underground rivers-did not visit there but saw info at the museum. Also, the island is surrounded by coral reefs- you guessed it-calcium carbonate (lime)! So everything is there- naturally, to produce this type of dyeing.
Some other observations- Higo Dorozome is a commercial working dye studio. I say this to contrast it against the Oshima Tsumugi Village/Sight Seeing Garden which does seem to do some weaving (not sure how much of it is serious commercial weaving) but the set-up there is definitely more geared towards the average tourist who wants to get an overview of the process and visit the gift shop. I also say this because as these sorts of crafts decline, many of them are turned more towards museum status (not unlike the Orinasu obi weaving studio in Kyoto-more on that in the Kyoto post). Higo has been there for 40 years and over time the main work of dyeing dorozome and indigo silk threads for oshima tsumugi weavers has steadily declined due to several factors-fewer wearers of kimono, the high cost of producing in current times, the aging of the artisans whose supreme abilities are harder and harder to pass along. I’m sure there are other more complicated factors that I’m missing here but the end result is less demand. So, that is why it is necessary for dye studios such as Higo to produce other items that are more accessible to the modern general public, to open the studio to visitors for workshops, and to educate new generations of the importance of continuing and innovating these craft processes. Nature, handwork, passion, commerce, beauty all come together in a distinct and geographic spot such as Amami. There are people in this chain of commerce devoted to seeing it gets sold in shops in the mainland, on the Ginza (as in the shop that we visited previously-see earlier post) as well as those connecting up with designers and retailers of modern clothing. Aside from my interest in dying and textiles, I’m also very interested (necessarily) in the commercial aspects of it all. I want people who choose this type of difficult work to find a way to make a living and to keep doing so. AI can’t produce this type of work and it won’t be replaced by robots. I am interested in finding the path…making the path, wondering, and following the moon.
Next post will cover my time weaving some silk oshima tsumugi…!
Kudos for your ganbatte in making it through this post! I add the photos here en-mass due to time constrictions. And now for the photos…
-There are many more photos and also lots of video that needs editing but I’ll have to get to that later. I’ll have a lot of that to share at the July 27-28 workshop at the Japanese American National Museum. I think there are still a few spots left- you can sign up here.
Stay tuned for Amami Oshima tsumugi weaving- it’s really amazing!
I’ll end this post with a little video of the Amami beach…
I’vee had a couple requests to set up a local silk shibori flower making class, so I did!
There are only 4 spots open so if you are interested, please check the shop listing here.
All materials are included in this small group class.
assorted silk pleated flowers
I was going to post this on FB yesterday as a new event but there was a worldwide FB outage affecting postings,comments etc. Maybe that isn’t a bad thing?
And while I am at it, I will remind you of the upcoming April 6-7 Shibori and Indigo workshop at the Japanese American National Museum in Little Tokyo, Los Angeles (or as it is sometimes known as- Japangeles). Signups are through the museum at above link.
The rain here has gone away for at least the next couple of weeks and I was able to replace the shade structure over the dye space outside. There is a new squirrel in town (or even possibly Squirrelly Gurl herself as they can live up to 8 years or so). She is so friendly to me and personality wise, much like the OG Squirrelly Gurl. I can’t know for sure but am enjoying her daily visits. Buddy the dog enjoys watching her and feeding time but the new cat-Kuro chan is trying to chase her when she can! SG is too fast for Kuro-thankfully and outsmarts him every time.
risu chan- Onakagasuita!
I did channel a little bit of Ume san last week and made this bag from the piece of sashiko laced boro from the last blog post. Adding it to the shop now.
Cross shoulder bag, made entirely from used/recycled and vintage materials outside of the thread and the shoulder strap. One outside pocket on back side, one inside. Completely lined with vintage kasuri kimono silk.
Front fabric covered button closure with indigo twined wrap-around cording. Outside pocket fits large mobile phone while an ipad can fit inside.
Plus the Silk Study Tour to Japan is in high gear. Everyone is getting ready for this great adventure. I’m receiving the bio pages for the booklet I make to hand out to our hosts so they can learn more about us. It’s always interesting to them! We still have 2 spots open for anyone wanting to make last minute plans to join our textile adventure. Link here.
In the absence of the Amuse Boro Museum (which closes this month) we are making plans to visit the Mingei Folk Museum instead. It just so happens that they are having a special exhibit of the work of Motohiko Katano, known for his adventurous and creative shibori patterns. I have never seen his work in person so I am quite excited about this. My first visit to this museum was with vintage textile dealer Carola Pfau’s husband Makoto (now passed), who also treated me that day to several of his favorite temple sales. Boy did we have a good time! Great memories…
We will also be visiting the Ichiku Kubota Museum as well as the Kyoto Shibori Museum so participants will have the opportunity to study some of the best shibori in the world!
Time to go and dye the rest of the indigo thread for this weekend’s workshop!
Upon returning fro Houston it was time to get at the persimmons if I wanted to get on with any hoshigaki (dried persimmons). Mine are the Hachiya variety if you don’t recall from previous posts on this annual topic. I was concerned they might be a little too far along for hoshigaki when I returned from the show but seems they were fine. The tree was very prolific as usual again and it simply produces way more persimmons than we can eat fresh or even give away, for that matter. Not everyone is a persimmon fan.
In order to dry them they are washed, and peeled before being tied in pairs to a string to hang. Since I pick from my own tree I can easily cut them with a little “T” at the top to facilitate the tying.
The biggest issue is mold, which I am having a little issue with this year on a few of them so we will lose a few. Seems to mainly be the ones not getting as much sun as the rest. This year I am drying them all outside. Unfortunately, (for the drying persimmons but YAY for the garden and the fires!), we have had several rains that have necessitated my having to cover them and the dampness is also contributing to the mold I think. At least it’s certainly not helping.
I have some that are on a moveable drying rack and that set can be put into the garage with a fan when needed. I am in the “massaging” stage so need to give them all a few squeezes each day to keep them soft on the inside and to keep the outside surface from having permanent crevices where mold can grow.
I have about 150 drying here and my son has about 50 at his place. We still have at least 100 -150 ripening on the tree! A double recipe of persimmon walnut bread only uses 2-3 medium size ones! They are good fresh with a little plain yogurt in the morning! A few pics…
the tree after picking off 200!
washed and ready to peel
how to trim the stem
in the night hoshigaki garden
in the daytime-starting to oxidize
massage stage-drying in the sun
massaging and checking them
thanksgiving dessert-surprise! persimmon bread!
you have to look closely here but one persimmon appears to have disappeared! the culprit might be sitting on the fence…
Prior to taking care of the persimmons, I had to deal with the pomegranate tree. Unfortunately some were lost and ripened while I was away but not to worry. I picked the rest of the tree and juiced them and sent all the peels and any inedible ones to the dyepot! Dyed some lovely golds on mostly silks while I enjoyed some fresh juice!
ready to juice!
got about 4 quarts of juice and the rest-into the dyepot!
it’s kind of like a Jedi mind trick- that very red goes in and out comes gold! (alum mordant)
Next post will be a long needed shop update! and speaking of persimmons… I made these for the show and missed getting them into the box when I packed! So they will be going into the shop.
made from vintage japanese and indigo dyed scrap fabrics with immature persimmons that fell and dried(the bead)and the dried top of spent persimmon flowers. each has a small bag of emery in the bottom of the pincushion to clean and sharpen your pins and needles.
So much lately, I feel at a loss for words when approaching the blog. My inner self is exploring why. I continue in the studio, trying to find my way yet feeling a bit lost. But I am Here.
But this IS the way, the path, and I am looking to find it again. Everything up to this point has been a vehicle that brought me to this place. It’s always that unsettled and uncomfortable place that leads me on, leads me forward…to Here. I am not a stranger to this feeling. When one is self employed (for over 40 years now!) one recognizes this feeling. Part of it is the unknowing of what comes next, or how to continue. But we do continue.
I’m actually feeling sick to my stomach this morning, a state of anxiety overwhelms. Who are these politicians who cravenly use their donors dollars for personal gain while demeaning others and darkening lives? Do they vote for the greater good, or for their own monied interests? I’d like to just walk away from it all but feel the pull to do SOMETHING. So I do a little, locally. That’s where I live. Here.
I’m hoping that when I get this post finally done, I will feel a little better. I have started so many posts over the last couple of months only to walk away from them unfinished, later returning to find myself unable to complete my thoughts. But that’s where I am…right Here.
This past weekend found me at the Japanese American National Museum, leading the shibori and indigo workshop. As always, it is such a warm and inviting environment with great people creatively working together, sharing, caring, and telling stories. I am so fortunate to have many continuing students always mixing in with new comers. For two days we learn and teach each other. We even started a Sunday morning “Breakfast Club” meeting prior to the start of day two of the workshop. (Great idea prompted by Komo-one of the museums biggest advocates who drives from San Jose for the workshops and brings mochi from Kogetsu-do!). I love when Keiko comes with her enthusiasm for shibori and the stories of her many family members who were interred in the concentration camps during the war-I learn so much from these women! Then there’s Cheryl, who is signed up for her second adventure on the Silk Study Tour to Japan and takes advantage of the trip to visit relatives there that she had not seen for many years and who are growing older all the time. I could go on and on but suffice to say, when I hear two of the newcomers tell me at the end of the workshop “this weekend has been the most fun I’ve had in years!”, my work is done and I go home fulfilled. So thank you all! Here are a few photos…
kumo binding with arashi shibori
ready for the vat
first time student was patient and deliberate-guntai shibori
arashi indigo moon
Kaiju vs. Heroes exhibit at the JANM
first “breakfast club” get together
The new exhibit at the JANM is Kaiju vs. Heroes-a wonderful collection of Japanese toys from Mark Nagata who had an equally wonderful story to tell about his collection and how it inspired his life as an artist and illustrator.
I have one more workshop to give before the end of the month- I may have mentioned it before, I can’t remember. It was full but Beth Marx, who organized it just emailed me that there was one cancellation- so if you are interested you can email her Here. I am filling in for the other instructor who wasn’t able to make it.
So now I prepare for my classes and booth at the Houston International Quilt Festival. I’m hoping to be ready enough. Sometimes, enough just has to be ok.
And, the pomegranates are ready! It’s fall. Or as we call it Here, our endless summer.