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.
I started working on this piece of cloth in order to add it to a larger piece I am stitching. The whole cloth itself is made from reclaimed, recovered, and salvaged bits of cloth-some redyed, restitched. This one in particular is from a couple of those categories.
Time stitching is time to think and reflect… When the fabric of our lives seems to errode and threads are laid bare, those of us who have the means, the desire, or the ability to strengthen the surrounding cloth/life can help hold it together. Stitching around the red silk, the cloth/wound was revealed, memorializing it’s existence, strengthened and preserved. The still fragile and ever eroding stripes/lives are grounded by solid yet invisible (on the front side) tiny stitches. The back side shows the structure and the pieces and stitches added in an effort, though impossible, to make the cloth/person whole again. Scars/tears will remain, lives lost and forever altered. This cloth is a small tribute to those who lost their lives this past week in Long Beach CA. In quiet moments of handwork, these thoughts rise up.
I chose this piece as it showed the story of the cloth from several perspectives. It had been reused previously (most likely as a cushion or futon cover) and taken apart. With several holes in it perhaps, the intention being to patch and reuse again.
As I handled the piece to think about how to apply it to the larger piece it became apparent that it needed some stabilization first. Using that same red silk I’ve shown you recently, I decided to highlight a couple of the duty worn areas. As I turned it over in my hand, I realized that the wear on this piece was really only in the warp areas of the brown dyed sections. This being a mainly indigo piece, it was warped in a couple of shades of indigo and what looks to be kakishibu (persimmon) dyes. The weft is indigo in two shades. What you notice is that only the kakishibu dyed sections are deteriorating- telling me that this dye was more damaging to the fibers over time. Was it treated with an iron mordant and not well rinsed? Not sure. But it’s very clear that only those sections broke down over time telling me it is dye related and not wear related.
I applied the lightest weight stabilizer to the back of the very fine red silk which I used. First stitching invisibly (front side) to stabilize the section and then further stitching the open areas revealing a bit of the red silk. Holding it up to the light, reveals its strengths and weaknesses.
I further decided that it needed more stability and added a larger piece of thin indigo dyed cotton to the backside. Copying methods I have seen on some of the vintage boro I have, I stitched the edges and again along either sides of the deteriorating stripes. It’s now ready to be part of the larger piece.
Above is just the process I used to stabilize the worn scrap. As I said in the video (last post), using the red silk to highlight patched areas reminds me of the Japanese ceramic technique generally called kintsugi. Looking up the translation of that word it contains the kanji for tsugi which means “inherit, succeed, continue, patch, graft”. So carrying this further, tsugimono would be something that is in need of patching. Yes, the patchwork that is our life, our clothstory. Stabilized, but not made whole.
I’ve let this post rumble around in my head the past few days while absorbing and collecting all my thoughts from the workshop at the Japanese American National Museum this past weekend.
Some things it seems I’ve known forever. Other things, I’ve acquired and built up my knowingness over time. I think this past weekend’s workshop really turned a corner in solidifying why and how I find myself at this point in my craftlife experience. It’s been a long time in coming. I’ve seen glimpses of it over time and place but I’ve never really written about it to any great extent.
I know you’ve read me here saying how great a recent workshop was etc., etc. … and I don’t often go into much detail. Today, I’ll write a bit more about this.
For many here, you already know this. Making something by hand yourself is very rewarding in many ways. It can enhance or teach a new skill, provide a different sort of activity from your daily job-whether that is out in the world or inside your own home taking care of others. It can offer quiet time-a peaceful mindfulness as you work on a project. It can provide a focus away from stress or even illness. It can literally keep you sane! In a group, you might gain social interaction with people you didn’t previously know and who have gathered together in a particular place and time for similar and varied reasons.
Some of you may be long time readers (since I’ve been blogging here since 2006) and know I have sold my handmade things for a living since I was in HS. Sometime around the same time(2007-2008), I started teaching workshops at the request of Maggie Backman for the Silk Experience group at the Quilt Festival in Houston. Prior to that I had been volunteer teaching art at the local elementary school. More recently (maybe since 2000-ish), I have been leading workshops at the Japanese American National Museum in Los Angeles and various other places.
What prompted me to write about this particular aspect of my work (teaching as opposed to the actual making) was the increasing feedback as well as my own observations from these workshops and my interpretation of it. We have all heard over the years how the arts are declining in much of our public education and yet at the same time, how the arts foster better outcomes in all areas of education and create more well rounded students. What I do know from personal experience is that art and craft have saved my own sanity in my lifetime. This experience was born out of the loss of my mother at a very young age to the ravages of mental illness, through a very trying childhood that included abuse of various kinds. Where did I go to find solace and peace of mind? Art and craft. The handmade. Why? At the time all I really knew was that it felt good, it felt right. I felt better when I was making something. I went back to this well over and over until it simply became second nature to me. It was (and still is) my medicine. It ended up being my path. You may have noticed here and there the tagline I have used over the years that reads:
“One at a time and Every Day Moonmaker, Pathfinder, Wonderer. Art’s apprentice, Color’s mistress, Nature’s admirer.”
I didn’t write this lightly. I meant every word of it, and it still feels honest and fitting to me. Now getting back to the workshop…here’s a little gallery to glimpse some of what went on.
This time we had over 2/3 new participants! Somewhat of an outlier workshop. Most if not all had never dyed with indigo or done shibori. Some had never done any hand sewing. We had two men. We had people in their early 20’s to 65+. We had 3 gals who were costumers, a municipal financial advisor, a patent paralegal specialist, a retired social science data archivist, an IT aerospace project manager, a dance and arts teacher, you get the idea- wildly varied! For many who were new to the museum they also had the pleasure of joining as a member and seeing all that JANM has to offer. We had people who drove from San Mateo, Santa Barbara, San Diego, Riverside, Arcadia, and all over the LA downtown & coastal areas.
Comments and conversations heard throughout this last workshop really moved me. Expressions of joy from learning a technique of tying a knot on a threaded needle remind me that simple skills are so important and what I may take for granted may be a revelation for another. Another comment I heard was ” I haven’t thought of work all weekend!” Don’t we all need this? During the finishing stage a gal commented that her friend wanted her to gift her the bag she was making. She remarked “Heck no! This is going on display on a table in my entryway with a light shining on it!” She had never made something like this before. Another person finished the bag she started at the first class and began a second one. One gal said that being her second time taking this class she wanted to make one of these each year to “commemorate where I am in life while making it”. Sometimes I see my place in these workshops as a life coach of sorts, a therapist perhaps, encouraging and cheerleading along the sidelines while providing a creative environment for all to move at their own pace, direction and within their own boundaries and limits. Sometimes people need encouragement, sometimes they need inspiration, other times they need permission. Sometimes a gentle nudge, a reminder to persist-it is all happening along the path. All the while teaching the textile techniques required.
My job is to discern what is needed in the moment and provide it through the medium at hand to the best of my ability. There is a bit of an empathic quality that has been developed through the many workshops I have taught over the years. For me, teaching a craft workshop has morphed into much more than passing along a skill or technique. It is my profound honor and pleasure to do this. Who knew?
This week the Houston show begins and for the first time in a couple of decades I am not there. It does make me a little sad. I will miss the people I consider my Houston family who always took my classes and came to my booth and friends who help me there. Teaching this workshop this past weekend however, took a bit of that sting away. This was a workshop I had proposed to teach at Quilt Festival that was not accepted and honestly, I feel this was a loss for those who might have signed up for it but at the same time I have filled that time with other work and don’t miss the stress of all the preparation that goes into doing that show.
And speaking of family, JANM offers this service in their resource center. I took this photo of a flyer I saw there. You can research your family’s history of incarceration in the WWII Japanese American concentration camps as well as immigration records! There is a fantastic oral history archive as well. I love listening to it. Lots of info is available online in the National Archives. Since so many participants of the workshops are Japanese American, as we work, we get to hear shared family stories of incarceration and reintegration into society after the war. The folks who are still living that were incarcerated in camps Mainly as children) are getting older and I feel the privilege of listening to the younger generations share their family stories. I have learned so much from them!
Getting back to the medicine part of teaching and the idea that handwork is medicine for the mind isn’t a new one. Any kind of handwork (think knitting, embroidery , beading, quilting and more) can be therapeutic and restorative. These days people are more likely to have a screen device in their hand as opposed to a needle and thread, a lump of clay, or a paper and paintbrush. But does this serve the same function? One might argue that there are benefits to both but the imbalance I see around me is what concerns. Making or repairing something offers a satisfaction that just isn’t there with digital devices. Enjoying a process on the path towards a goal or completion serves us well.
Take Shinischi Kobayashi for example. At the age of 72, he started drawing. On everything! I’m sure he benefits from the neurochemicals that his brain releases and keeps him continuing to draw. Dopamine, Oxytocin, Serotonin, and Endorphins are the four major chemicals in the brain that influence our feeling of well being (DOSE). Medicine without pharma! Generally, we don’t think about these things when we apply ourselves to activities that trigger brain chemistry responses. We just know that we enjoy it-that time seems to pass quickly, and we want to do more of it! I am looking forward to seeing a day when education realizes that the health benefits of applying hands and minds to materials in creative ways, in equal doses to STEM and all the testing. It makes for healthier humans. And with plenty of challenges ahead of us, we want to be as healthy as possible!
Here is my finished komebukuro (offering bag) made at the workshop as a demonstration piece for the class. I had to finish it at home since I was busy at the sewing machine on day 2 assembling eveyone’s bags. I’m working to finish up a couple of complementary pieces for the shop and will post when they have been added. We all have something to offer.
Back in June 2012, I posted about this wonderful komebukuro. Here I copy the relevant part of the post in order to list this in the shop.
This particular one appears to be quite old and with many areas repaired. It employs various homespun cotton and hemp fabrics and the rope is handmade from hemp or other bast fibers. It is also quite large- the bottom measures 11″x11″ and each of the 4 sides about 15″(H) x 12″ . One side (the inside?) is more interesting than the outside-you can better see the patchwork. I would guess this one to be from the Meiji era (1868-1912). I appropriately found it at a temple sale.
This piece has been displayed at many of my workshops:
inside full view-1
more inside detail
edge detail and rope
bag bottom inside
outside view 2
another outside view
If cloth could speak! One can only imagine the past life of this bag, but from all the mending and variety of scraps used in its making, one can guess that it was made in the Japanese spirit of “mottainai” which conveys regret over wasting something useful. Poor families saved all cloth, which was then made and remade into useful objects many times over. I love this piece as a reminder of that notion- that we can be more thoughtful and find ways to make what we have last longer, and remain purposeful.
These types of “rice bags” were used for errands, carrying rice and perhaps other daily necessities, and sometimes to take offerings to local temples.
This one I came across at a Tokyo area temple sale in 2012, before I knew much about boro and Japanese folk textiles. I had yet to find and visit the Amuse Boro Museum in Asakusa. When I saw it it just spoke to me and I have admired it first hand since then. When I first brought it home it was quite dirty and I did give it light vacuuming, a gentle soak and hand wash to clear the fabric of the accumulated dirt. It seemed to appreciate it. I usually display it with more patched side out. Added to the shop here.
I’m inspired by today’s high of 91 here in Long Beach to come inside and write this blog post.
CA native wildflower seed pack in full bloom and seems to enjoy the heat a lot more than I do!
I’m just finishing steaming shibori pole outside and it’s hot! A reminder that there will be a lot of this ahead in the coming months. Some of you are still getting snow storms- I’ve seen your instagram posts yearning for spring and trust me, warmer weather WILL arrive. Some of my friends and family in Iceland and Japan are celebrating the blooming of spring and warmer weather. It’s cherry blossom viewing season in Japan and I’ve really been enjoying the photos online. But here- 91 today, ICK! Inside is cool from the evening and keeping the house closed up until evening works wonders.
another thought -experimenting to keep my interest intact!
You may have seen a photo on IG of a new beading piece I started. I finished it yesterday.
I tend to get a little obsessive once I start a beading piece. I think it’s because I am really a novice beader and I’m learning new techniques every time I make something. I think I’m afraid I will forget how or what I was doing if I don’t keep at it diligently until finished.
On this one, I learned how to do a cellini spiral. Ages ago I did a few peyote tubes and was intrigued by the spiral ones. I also wanted to incorporate the spiral into a shibori ribbon cording that would be the centerpiece of the necklace. You can really get into the repetitive nature of doing the spiral which I alway find enjoyable. Sometimes, you just want to do something mindlessly rhythmic! I made my own way decreasing and increasing the ends to suit the piece which went fine. Not sure how others would do it but I just went with my own intuition. I also wanted to play around with some beaded leafy pieces so I looked at some video tutorials of “beaded Russian leaves”. Didn’t really find the look I wanted in the tutorials but did get a few ideas on how to approach what I wanted. Will practice more of that another time. I’ve also been playing around with more cut and dyed silk cocoons so I added one of them into the piece. This colorway always invokes an oceanic feeling to me so I went with it and wondered what a mermaid might wear to an underwater garden party…
mermaid garden party
mermaid garden party
shibori into cellini spiral
spiral into mag clasp
If you are interested in how this piece started out, I made a little video back when I first started it -more as a reference for later and also to show Karan who does some very fun and inventive beading- often with shibori.
Last post I said I would put up my upcoming workshops. I will but in a separate post. This one is long enough!
Even longer than I remembered, the moon has figured into my work. I was reminded by this photograph. As I recall, I was sitting outside the local community pool, likely babysitting. I did a lot of that in HS. I used most of the $ to buy art supplies, fabric to sew clothes, and parts to upgrade my 10 speed. I’m not sure why my pieces were hanging on the fence here. Maybe some sort of “show”? The piece on the left was my first try at batik. The one on the right was a hooked wool rug from a design I did on paper. Even back then I was fiddling with color and fiber. I was in the 10th grade, so about 16 years young.
about 44 years ago in Burke, Virginia
My sister just digitized a trove of old photos (almost 800). There are some classics there. I pulled a few more to post on FB for the Yokohama Girls. (I’ll tag you there once I get them posted.)
And a special thanks to our dad Cale, who was a photographer his whole life. His collection of slides was immense, many since discarded unfortunately. I wish I had them now- especially the 1000’s from Japan in the 60’s. Would be fascinating to see some of them now.
And into the New Year we continue to travel. I plan on making a giant pot of Pho tomorrow to start the year off.
Travel well my friends. Continue to be courageous, kind, and creative into 2018.