Giant pigeon feet.
Public Art in New York, New York

Public Art in New York, New York

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I have had a busy past couple of months including going to my class in La Conner, WA, getting Covid (again) and traveling to New York City (NYC). I haven’t had much time for any fiber art. So today, I thought I would show you some of the public art in NYC. We go to NYC once a year since my parents had a time share there and they gave it to us. So I get a bit of big city experience and culture annually. Since we have been there many times, we have done most of the popular tourist activities and now we look for things that are free or less expensive to see. There are actually many free things to do in NYC, you just have to look for them and be prepared to do some walking. Google informed me after I got home, that I walked 19 miles the week we were in NYC. We actually walked a little less than usual as my sister caught a cold and wasn’t feeling well. Now on to the photos!

The view out of an airplane window with a moon and moon's reflection.

We had a red eye flight to NYC and I saw this double moon image out my window as we were about to arrive at 6:20 am. It’s a reflection of the moon in the window but it looks like two moons.

Dennis sitting in an indoor POPS in NYC.

Since we got to NYC so early, we weren’t able to check in to our time share. I was concerned in October that the weather might be cold or rainy and so I looked up public places to hang out. It turns out that NYC has a bunch of these called Privately Owned Public Spaces. This is a program where businesses get a tax break if they build a space inside or outside their building that can be open to the public. There are more than 550 of these throughout the city and you can look up where they are here. So Dennis and I spent a couple of hours hanging out in this lovely public space. We would have liked there to be couches, as we were quite tired, but we survived.

Statue covered with pigeons on Columbus Circle by Central Park.

On to the art, this is a statue/memorial at Columbus Circle by Central Park. I took the photo because of the pigeons. They are everywhere in NYC. Keep that idea in mind for a future piece of art.

Mural on the side wall of 'ritas restaurant in NYC.

Our first dinner was at ‘ritas and they have this fabulous mural on the side of their building. They also have great food and we ended up there during happy hour and got a great deal on tacos and nachos, yum.

The next day we went down to 14th Street at Union Square. We went to a farmer’s market (I have loads of photos from this but decided I had enough to post about with just looking at public art) and then on down 14 Street. These are three buildings along the way.

The reason we were on 14th Street was to see Art in Odd Places. This is an annual event and combines visual art, activism and performance art. These are a couple of the ones that we saw but apparently we missed many more. Most of the art moves around on 14th Street and interacts with people walking on the sidewalk.

One wonderful thing that happened was we ran into these elephants from The Great Elephant Migration. They are created from the size and shapes of real individual elephants and made from lantana camara which is a noxious weed. You can read more about the project on their website. While I was looking at the website, I realized that these elephants are coming to the Blackfoot Indian Reservation in June of 2025. That is only about 2 hours from me so I hope to see them again.

Another great place to see public art is on the Highline. It’s an elevated walkway on the west side of Manhattan from Hudson Yards down to Chelsea Market. If you click on the link you can read more about it. The newest addition to the art is ‘Dinosaur’ by by Ivan Argote. It’s a 16 foot tall pigeon and is really cool. In ode to all the pigeons (see the first photo) in NYC.

Times Square is also home to revolving public art. Here’s two that I saw this time.

There is all kinds of mosaic art in the subways. You can see it at many stations and it’s fun to watch it pass by as you leave the station or as you walk up to the NYC streets. I have many photos of all the different stations from year’s past. After looking at the link above, I have many more to see!

Macrame art at a coffee shop in NYC.

You can even see art in a coffee shop!

Mosaic art in St. Patrick's Cathedral in NYC depicting a tree.

This mosaic is in St. Patrick’s Cathedral. I needed a photo since it is a tree.

There are museums for everything in NYC. We have been to many of the art museums but decided to try the AKC Museum of the Dog this time. It is not a very big museum and was a bit tricky to find, but it was fun. The last photo is of a dog on the subway that I had to include.

We had never been to the NY Public Library either. We had walked by numerous times but hadn’t gone inside. I was enticed this time by the Line + Thread exhibition. It was about print, textiles, and stitch. The little psalms book with the embroidered cover was my favorite with raised work and metal threads, it’s gorgeous.

Copper, bronze and nickel screen by Harry Bertoia located on the upper floor of The NorthFace store in NYC.

We happened upon this piece in the NorthFace store. It’s by Harry Bertoia who was commissioned to make it in the 1950’s. It was taken down when the building was renovated but it was brought back to the same building recently.

Grafitti on a building in NYC.

And here’s the other type of art that you see in NYC, street art/graffitti. I hope you enjoyed all the art. If you ever get to NYC, keep your eyes open as you will see many works of public art worth taking the time to find or perhaps just happen upon.

John C. Campbell Folk Art School – Part 1

John C. Campbell Folk Art School – Part 1

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Service Dog-Porter and I on the handicapped ramp to the Dining Hall

Several years ago, I was knitting on a Walt Disney World bus, from our resort to the park of the day. A younger man was intrigued with what I was doing and we struck up a conversation about this folk art school in the Appalachian Mountains of North Carolina. I had never heard of this school, but this young man and everyone I spoke to thereafter, made it sound like it was a crafters paradise. I looked the school up a few times, over the years, but the timing wasn’t right for one reason or another. But, later in 2023 something made me search for the school again. I had no idea what kind of class I wanted to look for, but felt this tug inside me to do something new and exciting. This month, I’m going to introduce you to the school, by way of photos and information we gathered. Next month, on my post scheduled 11/27, I will tell you about my spinning class and the wonderful experiences husband Brian, dog Porter, and I had while there.

If you’re looking for that “unknown something” that feeds your mind, body, and soul, and teaches you more than you ever thought possible…I encourage you to look up the John C. Campbell Folk Art School at https://folkschool.org. The website will give you all sorts of information about the school itself, the history of how it came to be, and basics information about the weekend, and weekly courses they offer. But, the magical nature of this special place, can only be experienced in person.

The class I chose was a 5 day spinning class, taught by Lesley Darling called “Get Spinning with Wool and Whatnots”. My class itself was $660 with a $75 guest fee and our Room (5 nights, Double Occupancy Queen w/in room bath) was $729 each. They have a lot of options that are less than that price, including an option to camp. This price includes 3 full meals/day. Now, when I say meals, we are talking about home cooked meals, with bountiful fresh fruit and vegetables, always a full salad bar, and options for vegan, gluten free, and nondairy. You will not go hungry – I can assure you that. There is a set schedule for mealtimes, and every meal offers eco carry out containers…especially for those who didn’t do mornings! For early risers coffee is ready at 6:30am in the common room. A couple mornings a week they offer Morning Song for anyone to partake in. It was a way to greet the day, with songs and friendship, not a religious ceremony. In the evenings there were musical performances, and folk dance demonstrations – we attended a fiddle performance, by a young couple, that was excellent. Most of the studio rooms were open in the evening for anyone wanting to get additional practice, make additional items, or complete projects.

Here are some photos of the vast campus area:

Our arrival
Keith House – Main Building
Meeting areas
Dining Hall in the Distance
History Center
Louise Pitman Fiber Arts Building
The Open House
Inside the Open House
Woodcarving Studio
Clay and Enameling Studios
Log House

John C. Campbell Folk Art School (JCCFS) operates like a well oiled machine. They have everything scheduled, and you are given your entire week’s schedule at check in: which is at 3:00pm! I mention this to you, because I was so excited to arrive at the school, we got there at 11:30am. I bounced into the check in office and no one was there. 😱 I totally understand it now, as there were weekend classes on that weekend. Those students were still finishing up their weekend’s final events. The person I finally was able to speak with, kindly said check in isn’t until 3:00pm. He offered a couple suggestions of what we could do in the meantime, but we had Porter (my service dog) to consider. It was a beautiful spring day, so I said we would wait outside, and enjoy the sunshine. I mention this because JCCFS is in fairly remote area of the Appalachian Mountains of North Carolina. The nearest small town was Murphy, NC – where we just stayed the night, and saw everything they had to offer in the spin through town. If you decide to go, plan on sleeping in, and enjoy a very leisurely lunch.

Sitting outside in the sunshine was very enjoyable, because Porter is a Bernese Mountain Dog, and he draws people over to talk, all the time. We were actually sitting at the area shown in the photo above titled “Meeting areas.” Porter attracted several weekend students, moving past our table carrying projects they made, that were jaw dropping. For example, there was a 4 day basket making class offered as a “long weekend” course. Her basket, was a structured 2 pc backpack; complete with hand sewn leather hinges, closures, and back straps. Another classmate had a New England style “fisherman’s basket”. These are baskets I’ve seen, for more than $500 in catalogs…and these were much nicer; with thinner reeds. My mother took some basketry classes, and made some nice ones, but her reeds were not thin like theirs. We gushed over their craftsmanship, and each student beamed with pride. I started getting excited to begin my class.

At check in we were given our packet. Inside, with my class schedule was our house assignment and room number. We were given an hour to drop off our bags, and be back for a mandatory orientation at 5:15pm, prior to 6pm dinner and our first class session from 7-9pm.

Hill House – Community Room
Our room can be seen right off the Community Room

The orientation told us the history of how John C Campbell, and his wife, Olive Dame Campbell did extensive research on the educational needs of adults in the deeply rural areas of Appalachia. Little was known about the people of this region and while John was asking questions (males) and reporting his findings, Olive was meeting with (women) recording oral stories, ballads and observing educational needs would serve the people of this area. John and Olive became aware a 19th century style of teaching in Denmark. This educational approach is the same today as it was then. You can read more of their history at

http://The Folk School’s Founding

Everyone that comes to JCCFS is expected to agree to a Code of Conduct that in essence, assures the following Acceptance Policy

The Folk School is an equal-opportunity institution and does not and shall not discriminate on the basis of race, sex, sexual orientation, gender identity, disability, religious affiliation, nationality, or ethnic origin. We strive to create an environment in which everyone feels welcome, respected, and free to learn and create. We ask that all who come here do so with tolerance and community-building in mind.

Part 2 – Next Month (11/27), I will tell you about my Spinning Class.

75th Anniversary Events

75th Anniversary Events

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As some of you know this year has been the 75th Anniversary of the OVWSG.  One of the events has been a monthly destash for guild members.  This is beneficial for members on so many levels.  Those with too much can clear out, while those who want to experiment can have the opportunity to try new products.  I’m in the later group.  One of our most talented weavers was clearing out a huge quantity of singles from a very reputable firm, in colours that I loved.  I pounced on them.

The intention is make a rouana or serape.  I’m starting with a piece that is 45″ wide by 90″ long and will work on finishing edges after it is woven and fulled.  The piece will get thicker and narrower, I hope.

The pattern is a basic twill in one inch stripes, very simple and hopefully showing the great colours.

The loom I’m using is not my own.  We are very fortunate to have access to rental equipment at our Guild and for a very reasonable cost we can use the equipment there.  So I opted to rent one of the Guild’s looms for three months.  This will force me to leave the house to finish this project.  Setting some goals and discipline is a good thing in the winter, right?

Warping the loom is slow going because I lost the cross on one section.  This is very disappointing and will be problematic as the threads are wound onto the back of the loom.  It’s not insurmountable, just annoying.

I am going to have to be very careful here, but I think I fixed the problem on the next few sections with some small innovations.

The bamboo skewers are wrapped on either side of the cross and I can pick the threads from alternate sides to stop them from getting tangled.  This was a real time and sanity saver.  Dressing a loom is a series of steps.  Each one needs to be done with an element of care and thought. From the initial calculations and colour selection, to fiber choices and use of end product, then threading the pattern, tie-up, treadling, and finally weaving. It all takes a bit of thought some more than others.  So for now I have left the colour selection and fiber choice to a very talented member of the Guild,  the pattern is mine, the end product will be a rouana or serape in a twill.  It has been measured and threaded through the reed, next it must be threaded through all the heddles, tied onto the back beam, wound on, tied onto the front beam and I’ll be ready to go.

But I’m getting ahead of myself, next step, will be threading through heddles, all 450 or so.  Heddles are those silver wires on the right.  Wish me luck. I have three months to finish this, so I’m good.

Mississippi Valley Textile Museum in Almonte, Ontario Canada
2024, 75th Anniversary exhibition at the Almonte Textile Museum Part1

2024, 75th Anniversary exhibition at the Almonte Textile Museum Part1

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Welcome back to the Mississippi Valley Textile Museum in Almonte, (Ontario, Canada),  today is the big day of the vernissage!

You have seen glimpses of the show as we were setting up, (2024, Set up for 75th Anaversery exhibition at the ALmonteTextile Museum October 16, 2024), but let’s have a quick look around before anyone arrives, a private tour for you! Don’t forget to bring your glass of wine and nibblies, so you can join the Vernissage after our tour!!

the door at the top of the stairs, with the exhibition in the background6.1) at the top of the stairs, our exhibit is to the left

6.2) Part of the permanent exhibit

As you come up the stairs to the second floor, the permanent Museum exhibit is to the Right but if you turn Left you will be in the temporarily exhibit space and our local guilds show.

As I said before there are examples of weaving, spinning, basketry and felting. I will try to show you the big picture of the exhibit, as well as close ups of some of the pieces so you can appreciate the work.

two swaged yardage, and panel 1 6.3) Two swags and panel #1

As you come through the door at the top of the stairs you will see the two long woven pieces and panel #1 which has a large weaving of the ocean and a lap blanket.

Close ups:

Diane Dillon, Saori Runner, Handwoven Mixed fibres6.4) Diane Dillon, Saori Runner, Handwoven Mixed fibres

We Lost Diane, unexpectedly, this summer. She had recently, in the past year, purchased a beautiful Saori loom and was having a blast weaving on it. You will see her hand woven top later in the exhibit.

Bernadette Quade, Banquet Table Runner, 2024  Recycled rag rug weaving cotton Warp and Cotton Rag Weft6.5) Bernadette Quade, Banquet Table Runner, 2024  Recycled rag rug weaving cotton Warp and Cotton Rag Weft

Panel 1; Jaws and blanket6.6) Panel 1; Jaws and blanket

Marianne Heggttveit,  Jaws, 1980 8-shaft satin weave Linen6.7) (Mandy) Marianne Heggttveit,  Jaws, 1980 8-shaft satin weave Linen.

Mandy used multiple strands of different colours to create this woven fabric. There are many sublet changes in colour giving the ocean it incoming waves.

OVWSG Members, Handwoven Plaid Blanket, Handweaving Wool.6.8) OVWSG Members, Handwoven Plaid Blanket, Handweaving Wool.

This lap blanket has been fulled to a lovely fuzzy nap.

7.1) Panel 2;  Colour gamp, novelty Yarn, tapestry, Felt tulips7.1) Panel 2;  Colour gamp, novelty Yarn, tapestry, Felt tulips

Panel 2 has the first of the felted items in the exhibition, as well as the only examples of spinning that were submitted.

Close ups:

Ann Sunahara Diamonds, 2019 Twill Gamp Cotton warp and weft7.2) Ann Sunahara Diamonds, 2019 Twill Gamp Cotton warp and weft

A Gamp is a way to sample various threading, treadling and colour options.  There is a coverlet, that is actually a gamp, later in the exhibit too.

Molly Underhill, Vase of Tulips 2019 Wet felt, Needle Felt, Embroidery,  Merino, silk and embroidery floss7.3) Molly Underhill, Vase of Tulips 2019 Wet felt, Needle Felt, Embroidery,  Merino, silk and embroidery floss

This is the first felt item you have seen in the exhibition! Molly has done a rather 3D picture, look at those fluffy tulips. She used a shadow box to frame her still life.

Laine Thiry-Smith Fruit of the Loom: not your Underwear!, 20177.4) Laine Thiry-Smith Fruit of the Loom: not your Underwear!, 2017

This is one of the 12×12 squares from the guilds exhibition celebrating Canada’s 150th anniversary.

Merilyn Mulligan Hand Spun Novelty yarn 2024 wool (Pollworth Fleece) Plied with silk7.5) Merilyn Mulligan Hand Spun Novelty yarn 2024 wool (Pollworth Fleece) Plied with silk

Merilyn Mulligan Hand Spun Novelty yarn 2024 wool (Rideau Arcott Fleece) spun with scraps of yarn7.6) Merilyn Mulligan Hand Spun Novelty yarn 2024 wool (Rideau Arcott Fleece) spun with scraps of yarn

Black display case8.1) Black display case

Closw ups:

Ann McElroy, Shepherds’ Spring Farm Ceremonial Helmet, 2014 Wet Felting Sheep’s Wool (Coriedale and Wensleydale) close up of horn 8.21-8.22) Ann McElroy, Shepherds’ Spring Farm Ceremonial Helmet, 2014 Wet Felting Sheep’s Wool (Coriedale and Wensleydale)

This is the second felting we have seen.  We had a little trouble with Ann’s foam support head, the hole in the neck had enlarged over time, and now enjoyed leaping off her stump and plummeting to the table. This could have been very disconcerting for visitors. Ann suggested “add a nail”. We added two to the perch and she now sits happily again.

Janet Whittam Swept Away. 2023 Rib Basketry Rattan, Mylar Fragment, Skate egg Cases, Wool roving, and verginia Creeper Janet Whittam Swept Away. 2023 Rib Basketry Rattan, Mylar Fragment, Skate egg Cases, Wool roving, and verginia Creeper8.31-8.32) Janet Whittam Swept Away. 2023 Rib Basketry Rattan, Mylar Fragment, Skate egg Cases, Wool roving, and verginia Creeper

Janet is a long time weaving, if you look back through some of the shopping posts I’ve done, you will see her booth filled with Handwoven tops and Ponchos, rag rugs and fabulous baskets. She gives a workshop on how to make the baskets which involves a walk to collect some of the materials. I have fond memories of dragging wild grape vine out of trees along the country road.

Nancy Ingram Polka Dot Bird, 2000’s bent wire and needle felting Mized media-wire, wool and wood base with stone accents8.41-8.42 ) Nancy Ingram Polka Dot Bird, 2000’s bent wire and needle felting Mized media-wire, wool and wood base with stone accents

Nancy is a Weaver and Felter. I love her use of exposed wire-work, it is so delicate but suggestive of the feature it is representing. You will see one of her Theo Mormon technique transparency tapestries a bit later in the show. Some of her other tapestries were much bigger. If you are curious, I can try to find a picture of some of them.

Janet Whittan Untitled, 2024 Rib Basketry Grapevine, cordage, rattan and antler Janet Whittan Untitled, 2024 Rib Basketry Grapevine, cordage, rattan and antler8.51-8.52) Janet Whittan Untitled, 2024 Rib Basketry Grapevine, cordage, rattan and antler

This is Another example of Janet’s Found Object baskets, this time including antler! I should have taken the picture before it went into the display case, the glass is obscuring the details. You may also have seen this in the shopping at Spencerville earlier this summer. (https://i0.wp.com/feltingandfiberstudio.com/wp-content/uploads/2024/05/3.2-1.jpg?fit=450%2C600&ssl=1)

While I berate myself for my bad photo choices let’s move on to the next panel.

9.1) Panel 4 Scarves9.1) Panel 4 Scarves

Close ups:

Carmen Deschenes Fall Burnt Orange, 2018 Shibori weaving, hand Dyed  Raw silk. 9.2) Carmen Deschenes Fall Burnt Orange, 2018 Shibori weaving, hand Dyed  Raw silk.

Carmen has used woven shabori to create this crinkled textural scarf. Extra threads are used as the fabric is woven, then tied to create the wrinkles. The fabric is then steamed to set the texture. The crimp can be increased by using fibers with differential shrinkage as are used in Nuno felt.

Linda Perrier, Scarf X’s and O’s (Original Pattern by Elizabeth Hill), 2022, Defected Double Weave, Hand dyed silk by Natalie Shumovski  9.3 Linda Perrier, Scarf X’s and O’s (Original Pattern by Elizabeth Hill), 2022, Defected Double Weave, Hand dyed silk by Natalie Shumovski  

9.4 I think this may be Mandy’s but cant find it in the list.

9.5  this one may also be Mandy’s when I find out more I will add the info.

There will be an exhibit of diamonds at the Guild sale Nov. 2-3rd. these may have been sent to the wrong exhibition, Liane is checking about that and i will update if the display gets changed.

Elizabeth Watt, Christening Shawl, 1995 2-Ply Hand Spun Knitting, Shetland Wool 10.1) White shawl

Elizabeth Watt, Christening Shawl, 1995 2-Ply Hand Spun Knitting, Shetland Wool Elizabeth Watt, Christening Shawl, 1995 2-Ply Hand Spun Knitting, Shetland Wool10.2-10.3) Elizabeth Watt, Christening Shawl, 1995 2-Ply Hand Spun Knitting, Shetland Wool

11.1) Panel 4  - Nuno Felt11.1) Panel 4  – Nuno Felt

 11.2-11.3)   Diane Dillon (In Memoriam) Nuno Wrap, 2018-2020, Nuno Felting, Wool, Cotton, and silk  11.2-11.3)   Diane Dillon (In Memoriam) Nuno Wrap, 2018-2020, Nuno Felting, Wool, Cotton, and silk 11.2-11.3)   Diane Dillon (In Memoriam) Nuno Wrap, 2018-2020, Nuno Felting, Wool, Cotton, and silk

another example of Felting, this is a large shawl created with Nuno felt. even as we were setting up it was getting a lot of interest.

12.1)  Panel 5 Hanging, felt, felt and scarf12.1)  Panel 5 Hanging, felt, felt and scarf

Carole Leroux, Falling in Love/ Tomber eh Amour, 2023, Plain Weave with Inlay of overshot, 8/2 Cotton.12-2) Carole Leroux, Falling in Love/ Tomber eh Amour, 2023, Plain Weave with Inlay of overshot, 8/2 Cotton.

Liane Thiry-Smith, Walleye/Dore: Sander vitreous, 2017, Dyeing, Weaving, Needle Felting, Wool and Lichen.12.3)  Liane Thiry-Smith, Walleye/Dore: Sander vitreous, 2017, Dyeing, Weaving, Needle Felting, Wool and Lichen.

Here we have 2 more felted items in the show, the background of the fish is woven. the Sylph is very delicate and has nice use of different fibers to give different effects.

Liane Thiry-Smith, Sylph/ La Sylphide, 2017, Wet Felting, Nuno Felting, Needle Felting, Stitching, Wool, Silk, Mohair, Cotton, Cheesecloth, and threads.12.4) Liane Thiry-Smith, Sylph/ La Sylphide, 2017, Wet Felting, Nuno Felting, Needle Felting, Stitching, Wool, Silk, Mohair, Cotton, Cheesecloth, and threads.

Judith Rygiel, Shawlette. 2020 8 shaft Twill, Silk12.5  Judith Rygiel, Shawlette. 2020 8 shaft Twill, Silk

13.1) Blue Shawl13.1) Blue Shawl

Judy Kavanagh, Blue Shawl, 2020, Handspun yarn Hand knitted, wool.Judy Kavanagh, Blue Shawl, 2020, Handspun yarn Hand knitted, wool.13.2-13.3)  Judy Kavanagh, Blue Shawl, 2020, Handspun yarn Hand knitted, wool.

14.1) Panel 6  Rug hanging sun flower computer inspiers wire weacing14.1) Panel 6  Rug hanging sun flower computer inspiers wire weacing

Catgerube MacFabe  Rag Rug, 2024, Woven on a 4-shaft loom (after Tom Knisely’s weaving rag rugs) Brassard Cotton (warp) and Repurposed cotton cloth (weft) Catgerube MacFabe  Rag Rug, 2024, Woven on a 4-shaft loom (after Tom Knisely’s weaving rag rugs) Brassard Cotton (warp) and Repurposed cotton cloth (weft) 14.21-14.22)  Catgerube MacFabe  Rag Rug, 2024, Woven on a 4-shaft loom (after Tom Knisely’s weaving rag rugs) Brassard Cotton (warp) and Repurposed cotton cloth (weft)

Nancy Ingram, Three Sunflowers, 1990’s, Transparent Tapestry Inlay, Warp-line Linen, Weft-Tow Linen, Glass and frame.14.3) Nancy Ingram, Three Sunflowers, 1990’s, Transparent Tapestry Inlay, Warp-line Linen, Weft-Tow Linen, Glass and frame.

Many years ago in a former life i showed Nancy how to frame between 2 sheets of glass to show off both sides of her transparency tapestrys. if i remember correctly i used trunbucles to secure the glass to the frame. i would like to take a quick peek at the end of the exhibit to refresh my memory! it realy was a very long time ago.

Nancy Ingram, Three Sunflowers, 1990’s, Transparent Tapestry Inlay, Warp-line Linen, Weft-Tow Linen, Glass and frame. Nancy Ingram, Three Sunflowers, 1990’s, Transparent Tapestry Inlay, Warp-line Linen, Weft-Tow Linen, Glass and frame. Nancy Ingram, Three Sunflowers, 1990’s, Transparent Tapestry Inlay, Warp-line Linen, Weft-Tow Linen, Glass and frame.14.4-14.6) Sylvie Faucher, Computext Board, 2022, Rep Weave, Linen, Cotton, Copper Wire, and Metallic Thread

Wooden display cabinet  DNA, Ice dragon and friend, Shepherdess and sheep, Woven mini blanket15.1) Wooden display cabinet  DNA, Ice dragon and friend, Sheperdess and sheep, Woven mini blanket

Sylvie Faucher, Double-Twisted Strands, 2022, Deflected Double-weave, Cotton15.2) (DNA weaving), Sylvie Faucher, Double-Twisted Strands, 2022, Deflected Double-weave, Cotton

Jan Scott, Ice Dragon, 2021, Needle Felting 3-D sculpture with full armature, Wool (Shetland, Mixed wool with Silk) armature in steel floral wire, and seed beads for eyes. (Visiting Sheep by Ann McElroy, Wool) Jan Scott, Ice Dragon, 2021, Needle Felting 3-D sculpture with full armature, Wool (Shetland, Mixed wool with Silk) armature in steel floral wire, and seed beads for eyes. (Visiting Sheep by Ann McElroy, Wool)15.31-15.32) Jan Scott, Ice Dragon, 2021, Needle Felting 3-D sculpture with full armature, Wool (Shetland, Mixed wool with Silk) armature in steel floral wire, and seed beads for eyes. (Visiting Sheep by Ann McElroy, Wool)

you may recognize this little felted guy and his purple friend.  the Ice dragon and his frosty breath are from the collection of Glenn Martin. i will tell Dragon he cant take his little sheepy friend home at the end of the show!

Ann McElroy, Dyed in the Wool, 2024,  wet and needle felt, Sheep’s wool (Various Breeds) Ann McElroy, Dyed in the Wool, 2024,  wet and needle felt, Sheep’s wool (Various Breeds) Ann McElroy, Dyed in the Wool, 2024,  wet and needle felt, Sheep’s wool (Various Breeds)15.41-15.43 Ann McElroy, Dyed in the Wool, 2024,  wet and needle felt, Sheep’s wool (Various Breeds)

This may look amazingly familiar….. as if you saw it maybe yesterday…. those sheep you cant get them out of your head…. don’t try to count them, its never good to face plant your keyboard! (ok its getting late in my working on this blog, this one took a long time trying to match names to pieces some being very trickily not on the list after i went through it multiple times. i hope i don’t get too strange as the hours gets later, and there are more photos to add!) OH! I had not noticed but if you look at 15.41 you may notice an odd ethereal presents behind the sheep, no wonder they are staying close to the shepherdess!

Jean Sharp, Hudson’s Bay Mini , 2017, Frame Loom Weaving, Wool15.5)  Jean Sharp, Hudson’s Bay Mini , 2017, Frame Loom Weaving, Wool

this is another of the pieces from the 150th show, it was so amazingly Canadian!

Guild Tapestry project Guild Tapestry project signs Guild Tapestry project16.1-16.3) Guild Tapestry project

Guild members project, you have seen this a few times in the blog posts, we have representations of quite a few of the fiber arts in the squares, Felting is well represented!

17.1) Panel / wall #7  Wier weaving17.1) Panel / wall #7  Wire weaving

Sayword Johnson, Presomnial No. 12, 2021 Handweaving, Copper wire, Green Patina, and Embroidery on linen canvas.17.2) Sayword Johnson, Presomnial No. 12, 2021 Handweaving, Copper wire, Green Patina, and Embroidery on linen canvas.

Sayword weaves with Copper wire in Warp and Weft.  she then adds patinas to react with the copper and finally adds embroidery to finish the piece. some of her pieces are quite large, others are free standing and some are small and delicate. the Guild was very lucky to have her teach copper weaving, hopefully she will do another workshop in the future.

Slide show and guest book, and small landscape in the background18) Slide show and guest book, and small landscape in the background

 This is the slide show I updated for the guild anniversary party.  There are over 900 slides so if you want to take a brake and watch them, we can wait, but i wont inflict them all upon you, if you only want to paws a moment. There are still a few more things to check out in the exhibit before the Vernissage officially gets started. Why don’t you take a seat in my walker (it is quite comfy) while you check out the slide that is showing, and then you can sneak downstairs and top up your glass of wine.

We have still to see one more woven piece on this wall then 3 items on the end wall, the Quilt stand and plinth, and then we have to look up and see the Mer’s.  I am sure you caught brief glimpses of them having fun in the background of a few of the exhibition shots. Since we are on page 21 of this blog post, there may be validity in the rumors I am verbose, let’s give you a rest,  you can enjoy the slide that’s up, (i can add more if you want, no, that’s not a threat!) and we will finish the exhibit and crash the Vernissage next week? (it will let you do that sneaking downstairs from more wine!)

Have fun and keep felting (but after the wine wares off!! those needle are sharp and the wet felters you don’t want to drop your bar of Olive oil soap, then slip on it!! the floor is always lying and is probably also wet.)

 

Finishing and Displaying the Shepherdess and Sheep.

Finishing and Displaying the Shepherdess and Sheep.

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It is time to finish and get it all together.

You may remember I had to redo the Shepherdess’ cloak. I didn’t like the way the hood on the one peice cloak fit, so I made another one making the body and hood separately.

I sewed the hood to the cloak and it looked much better but, naturally, I did not take a picture of that. I immediately moved on the decorating the cloak. I thought if she had multicoloured sheep she would want to show that off on her cloak and so I decided to add some nice fuzz to her cloak to help her show it off and keep warm.

 

Next, the shepherdess needed some hair, up to now she has been bald. It’s a look that works for some but I thought she would be cold or might get sunburn so she needed some hair.

Very quickly she became a lovely brunette with some naturally coloured Teeswater.

trying on her new cloak (ignore the messy background, there is no time for housework when cloaks must be made.)

Time to be put together. Off to the guild studio for a photoshoot.

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And lastly, they got installed at the gallery for the guild show. Jan will have more pictures on Saturday. I stole these from a guild post she made because I haven’t made it to the show yet. Thanks to Lianne for giving them some grass to stand on.

You may think this is the end but there is more. Someone’s Dragon raided my flock

She says he is just lonely but he looks a little hungry to me.

BarBQ Tool Holder Complete

BarBQ Tool Holder Complete

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The last time I showed you the BarBQ tool holder, I was working on the quilting lines. It was my first time using the walking foot on my new to me Bernina machine.

Bernina sewing machine with walking foot stitching the straight quilting lines on BarBQ tool holder.

I hope you can see this as the silver part that you measure your width of quilting lines is hard to see in the photo. It’s to the left of the foot. All you have to do is keep that silver piece in line with the prior row of stitching and then you will have even spacing between your quilting lines. It worked just fine. But it seemed to take forever. This is one of the reasons that I never care for straight sewing, seams or sewing clothing. I much prefer free motion stitching as it keeps my mind engaged. When I do straight stitching like this, my mind tends to wander which isn’t a good thing when machine sewing. But I managed to get the entire piece quilted without any huge errors.

Opened BarBQ tool roll with fork, tongs and spatula in pockets.

Next up, I figured out how wide the pockets needed to be. I folded up the bottom edge and stitched along the quilting lines to make the pocket seams. I was a bit worried about the thickness but the sewing machine tackled it with no problems.

Rolled and tied closed BarBQ roll.

So here’s my finished BarBQ tool roll all tied up and ready to go in the camper. As Ann B. pointed out in my last post, this qualifies for the 1st Quarter Challenge. Better late than never!

 

A rare view inside Ashford Wheels and Looms, New Zealand

A rare view inside Ashford Wheels and Looms, New Zealand

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As textile folk, many of you are familiar with the New Zealand company Ashford Wheels and Looms. In fact some may own an Ashford product as they also sell hand carders, drum carders and many other tools and accessories.

They sell all around the world.

Me, I am the proud owner of a set of their hand carders and a drum carder, they are invaluable tools when it comes to my felt making.

Here’s a question:  what have Lego and Ashford Wheels and Looms got in common?  I will tell you at the end of the post.

Back to my story.  You probably have experienced one of those rare moments in life where the planets aligned – a real ‘right place right time’ moment.  This happened to me earlier this year.  Last February, we did a once in a lifetime trip to New Zealand.  At this stage I can’t tell you how many time zones we traversed but, travelling from Ireland, but were a long time in the air and we covered over 18,000km.  I loved every minute of the trip and we factored in time to spend at the Ashford store in Ashburton on the South Island.  So for anyone who has or is thinking about purchasing anything from the store, here’s some photos and a story that might fill in the blanks on your lovely pieces.

I was so excited when our hire car pulled into the car park.  I jumped out and started talking to the first person I met.  By sheer stroke of luck I was talking to the company’s owner Richard Ashford.  My second bit of luck was that he and his lovely wife Elizabeth were about to lead a factory tour for an American group.  He introduced me to the group (which I thought was very courteous of him) and off we all headed into the factory.  The couple’s charisma and energy shone through during the tour.  They were both about to retire from the family business making way for a new generation of Ashford’s to take over the business which has been on the go for over 90 years.  I wish them both a happy and healthy retirement and I want to thank them both for making the morning I spent in their company so warm and memorable.

So if you are the proud owner of one of the 900,000 Ashford products which have been made so far in Ashburton, give us a shout and let us know what treasured item you own.  If you are thinking of buying, the slide shows may well whet your appetite.  Enjoy this rare view inside the factory.

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Stockists are all over the globe.

My next stop was a wander around the store.  Think kid in a sweet shop in this regard.  The only issues that held me back were the fact that there’s only so much that would fit into the suitcase and the realisation that I can buy from one of many stockists in Europe – happy days! Here’s a sneak peak of the interior of the shop:

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I hope you enjoyed these special holiday photos. Please feel free to reach out and tell us what Ashford pieces you own (or what is on your wish list)

Answer:  both are highly successful companies who started out making wooden toys.

An adult fox, side view, in a green field
The Fox

The Fox

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You may recall that in a recent post I told you about the outsize flea I had been asked to make for the play “Flea the Pandemic”.  About a month ago the director of that play asked me to make a prop for one of the three one act plays he had written which SNADS have just performed under his direction.  He asked for a dead fox!

In fact the play called for a vixen which had been killed by hounds and he wanted it to be as gory as possible.

Once again I asked Mr Google for some assistance with basic reference images – of live foxes.  From these I determined the colours of fur fabric which I would need to use.

composite picture of a fox from all directions.
Reference photo – All round a Fox.

Having spoken to our wardrobe mistress and acquired some bits from our stash, I realised that I was going to have to get some paint as we didn’t have much in the way of correct colours.  I was able to obtain some “match pots” of acrylic decorating paint in tan, and dark greyish-brown together with a “fresh blood” red and a “drying blood” red.  I collected together other items which I usually find helpful in making props – some of my non-woven cotton cleaning cloths, empty milk bottles and other plastic vessels and a couple of plastic tubes of different diameters.

collection of materials for making fox carcase.
Collecting the materials and reference photos.

Mr Google next helped me with the size of a vixen carcase (though from whose website I cannot now remember) and the shape of a fox’s skull.

table of measurements and outline of fox to reference size of model.
Reference information re size of “carcase”.

fox scull side view
skull

The basic skull shape I made from some pieces from an opaque white milk bottle and masking tape.

Image of skull, white plastic milk bottle and partly constructed skull "armature"
Part made skull “armature”

I made an approximate size body using one of the non-woven cloths, which I stuffed with some recycled polyester stuffing and I covered that with fur fabric, but leaving the “belly” open.  I covered the skull with fur fabric using PVA glue and some strong thread, and stitched it to the body.  I added two back legs in fur fabric, one full length front leg and, as I was then running out of the fabric, a short one leaving the paw end open and painted red, inserting some more of the opaque white plastic cut into “shards” to represent a bloody shattered bone.

inner body of model fox
Basic body shape

I was lucky with the tail, as amongst the bits in the fur fabric stash there was a piece which was stitched  into a vague tail shape and it was darker and fluffier than the rest of the fur fabric I had found.  So I stuffed it and added a white tip to it.  I stitched that onto the fox’s rear end.

Long piece of dark red/brown long fur fabric and small piece of white fur fabric.
Tail Fabrics

I added some ears to the head, using scraps of the fur fabric stiffened with PVA and paint.  I didn’t bother adding teeth to the open mouth as the head was likely to be less visible to the audience.  I painted a black nose and black eye sockets.

I then had to brush over the rest of the light tan coloured head and body with a darker tan, which I had mixed from the new paint and some in my paint box, using the dry brush method, to represent something more fox-like.

Next came the gory bits.  I fashioned some organ shapes from the plastic bottles, and some entrails from some of the tubing and a couple of the milk bottle handles.

plastic tubing and pieces of plastic vessels painted to look like entrails and organs
Painted plastic organs and entrails

I noticed that a couple of the non-woven cloths which had been through the washing machine several times were beginning to break down.  Stretching them pulled the centre into holes which began to look a lot like caul fat.  So I cut some sections out and wrapped the “organs”.  This would make them more realistic although the full effect would be unlikely to be seen by the audience.

Then I got busy with the “blood”!   The paint covered the “organs” and the “entrails” quite well, although I later found that it would flake off the milk bottle handles and would need touching up. I also treated the open belly, the short front leg and the mouth with lots more “blood”.

The fox was to be fixed to a black board, which would hopefully blend into the black flooring that was to cover the shiny wood floor of the stage.  Once this had been delivered to me by the Producer, I stuck the body to the board with more PVA (what would we do without it?) and then arranged and stuck down the organs and entrails.

But something was wrong, it didn’t look right.  Then I realised that there wasn’t enough blood.  If the fox had been torn apart by hounds there would be blood everywhere.  So I got the paints out again and spread a good deal of it over the board and added lots more to the body.

model dead fox with entrails showing and one front leg short and showing bone. Blood everywhere.
Dead Fox

I have now seen the play and at the end the poor fox was accorded a solo spot on the stage.

The End.

The Mississippi Valley Textile Museum is located in the former Rosamond Woolen Co. in Almonte, ON. Constructed in 1867
2024, Set up for 75th Anaversery exhibition at the ALmonteTextile Museum

2024, Set up for 75th Anaversery exhibition at the ALmonteTextile Museum

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Was it last week, that I showed you the Mer’s and their pets, wanting to go off to the Mississippi Valley Textile Museum? Friday I had a quick medical procedure with a different anaesthetic (that worked better for after-affects!) and then the car needed a trip to her Doctor on Monday, for new back brakes but the timing was great since I was not really feeling up to driving. By Thursday, both the car and I were feeling much better. I also found out that the showpieces were going to Almonte that afternoon and volunteered to go up and take pictures to document the guild show set-up and then the Vernissage on Saturday.  (as you probably have found out, it is easier to have someone else document the work and not have to stop and take pictures while you work!)

The Mississippi Valley Textile Museum is located in the former Rosamond Woolen Co. in Almonte, ON. Constructed in 1867. stone building with large wooden front door with Textile Museum in stained glass on the transum window1.1) The museum, which was the old mill office and attached stone building

the other old stone mill building has been turned into expensive condos1.2) the other old stone mill building has been turned into expensive condos.

I have told you about the wonderful textile Museum, (3 Rosamond St E, Almonte, ON K0A 1A0). It is open Wednesday to Sunday 11am to 4pm, in case you are dropping by.  Almonte was a Mill town, the Mississippi River runs through it with useful drops in height, which makes it perfect for the proliferation of mills. This was a textile complex, (there is an old flower mill on another part of the river). In the picture above, you can see the Old mill building on the Left.  It has been turned into expensive condos, with either a fabulous view of the river or the parking lot and the old mill office, which is now the museum.

Our original exhibition organizer had a sudden change in workload, now expected to do 3 people’s work, for the pay of 1 and had to back out of his Guild work. Liane took over late in the process and quickly pulled together a small team to help with the remaining prep work and the installation. Unfortunately, one of her installation team had a major family health problem and was unavailable.   So I went from Photographer to part of the installation team, and photographer. I hope you will find I still took enough photos to document the show!

There were 3 components to the show, the history section was the 75th-anniversary slide show I had made for our anniversary party (921 jpegs) running in a loop.  Work from guild members and some of our members who were pushing the boundaries in their fibre arts. There are examples of Weaving, Spinning, Felting and Basketry, all of which needed to be transported to the museum, and then grouped together for display.

the sign for our exhibition “Remembering/Reimagining: Celebrating 75 Years of the Ottawa Valley Weavers' and Spinners' Guild”1.3) the sign for our exhibition “Remembering/Reimagining: Celebrating 75 Years of the Ottawa Valley Weavers’ and Spinners’ Guild”

 

On Thursday afternoon, set up day 1;

Pieces were brought to the museum and unpacked. At that point, Liane organised what was going were and we started to hang the show. We had an amazing assistant from the Museum helping pull display equipment and assisting us. I have a background in picture framing and installation and have also helped with art shows at University, so this was not totally new to me.  Unfortunately, Lug and Hall are not my best abilities, so I switched back to Photo documentation while the work came in.

the back hall where the work was coming in, before being moved to the exhibition space.2.1) the back hall where the work was coming in, before being moved to the exhibition space.

Kieran carries in a well wrapped piece to the display space.2.2) Kieran carries in a well wrapped piece to the display space.

Liane unwrapping pieces and making notes2.3) Liane unwrapping pieces and making notes

the Guild Tapestry project has arrived!2.4) the Guild Tapestry project has arrived!

this is not really a “Vanna White” moment, it is to document the packaging of each piece.2.5) this is not really a “Vanna White” moment, it is to document the packaging of each piece.

To make sure everything got back into the correct packaging, I tried to get a shot of each item, as it was unpacked.

The next was organizing the exhibition into groupings for the panels. As things emerged from their packing Liane told us where they were going. Thus the show started to take shape. We kept sending our fabulous museum worker, Maybe (whose name I misheard and kept referring to as Mavie, Sorry!!!) off to find plinths, easels, hanging bars……

While the others were grouping pieces and draping display manikins, I got to work with a needle and some fishing line and prepared the Mers for their big day.

grouping pieces to hang together2.6) grouping pieces to hang together.

Ann’s Helmet is having trouble staying on its stand. After years of going out to Demos, the hole in the foam heads’ “neck” has increased in size and now self-decapitates at unexpected moments. I asked Ann for repair suggestions and she calmly said to “just add a nail or two”. We added 2 nails to the base and no more headless stump problems!!! You will see the fixed version in a few pictures.  The Styrofoam head also was losing some of its grey finish so I added 2 pairs of black knee-high nylons over it and it fixed the uneven colour perfectly.

Maybe and Lane take a moments brake (I brought chocolate cookies and rice crackers)2.7) Maybe and Liane take a moment’s break (I brought chocolate cookies and rice crackers)

While the others were grouping pieces and draping display manikins, I got to work with a needle and some fishing line and prepared the Mers for their big day.

the Mer's are ready to go for a swim around the museum.2.8) the Mer’s are ready to go for a swim around the museum.

While Mr Mer is perfectly capable of holding his quatrefoil, (triad with one more sharp part added) but it might be better if he didn’t go hunting Museum visitors so I switched to his tennis ball and racket. Maybe he can get Mrs. Mer to play with him.

oh no the museum will be closing shortly, so we will be back tomorrow to continue working.2.91) oh no the museum will be closing shortly, so we will be back tomorrow to continue working.

Oh no, the museum will be closing shortly and we will have to continue on day 2.

End of Day 1 and time to head back to Ottawa, I hope the traffic will be better! Let’s enjoy the fall colour before we head home.

Fall colours by the Museum2.92) Fall colours by the Museum

When I got home on Thursday night I did a quick bit of layout to give Liane signage for the Group Guild tapestry project, which I showed you in an earlier blog post(https://feltingandfiberstudio.com/2024/07/04/ovwsg-75th-anniversary-party-and-tapestry-project/). I got all the info to fit on a legal size page! It’s interesting to see what we each started with as an image and then how we interpreted it.

the list of artists, there image, square number and the technique they used.3.1) the list of artists, their image, square number and the technique they used.

the Guild Tapestry project. Liane has added the cool brass plack3.2) the Guild Tapestry project. Liane has added the cool brass plaque

 

Friday, Day 2,

ok, I know it’s the Thanksgiving long weekend but this is the second day of horrible traffic and really bad driving, is there a problem with the moon I don’t know about?  Yesterday a little odd lady in a small car crept onto the highway and got up to the frightening fast speed of 60 kilometers per hour in a 100 zone. Today it was cars weaving and random unsignaled lane changes and sudden decelerations for no apparent reason.  (Alright, I’ve ranted and feel better, let’s get back to the show!)

This is the back door to the Mill office/ Museum, it has a ramp which is easier than the front steps, if you have a walker.4.1) This is the back door to the Mill office/ Museum, it has a ramp which is easier than the front steps if you have a walker.

Maybe and I started work on hanging things including the Mer’s. I switched out Mr. Mer’s Quodradent (it could impale someone) for his tennis racket and a tiny dry-felted tennis ball.

getting this panel of scarves hung required more ladder work and the big level.  4.2) getting this panel of scarves hung required more ladder work and the big level.

The Mer family and pets are having fun swimming around above the show.4.3) The Mer family and pets are having fun swimming around above the show.

We added more blankets to the coverlet stand and slowly worked our way around the space putting things up. while Maybe was called away I tried to use the short ladder to hang one of the panels. I heard about that as a bad idea later that evening while I tried to fall asleep. (Sorry, no shot of me up the ladder!) I do have good ladder shots of both Maybe and Liane though.

Hanging on a long woven tapestry of Iceland required the much taller ladder 4.4) Hanging on a long woven tapestry of Iceland required a much taller ladder

hanging the elephant weaving4.5) Liane hanging the elephant weaving

Elephants  copper  and parliament with the edge of one of the coverlets on the right. There are cookies4.6) Elephants, copper and parliament with the edge of one of the coverlets on the right. There are cookies

Oh no the Museum is closing, but we can stay a bit longer!4.7) Oh no the Museum is closing, but we can stay a bit longer!

just a bit more to do but its looking good!4.8) just a bit more to do but it’s looking good!

OH no is already time to leave? No, today there is work going on downstairs on the other exhibition, so we will be locked in but can stay until about 6 pm. We had most of the exhibition placed. A couple more to put up then signage and the slide show but that will be for tomorrow before the Vernissage starts!

 

Saturday, Day 3!

More slow traffic today, you would think it’s a long weekend, oh yes it is a long weekend! The big day is finally here, the last pieces must go up, so let’s get back to work (then we can party!!) Liane and Maybe have been busy and have more up by the time we got through the oddly heavy traffic!

almost ready, that blanket needs a bit of straitening but this end of the exhibit is looking good!5.1)almost ready, that blanket needs a bit of straitening but this end of the exhibit is looking good!

the nuno felted shawl just got straitened we have to get the ladder away and put that pile of packing stuff away for latter. 5.2) the nuno felted shawl just got straitened we have to get the ladder away and put that pile of packing stuff away for later.

Maybe got the Slide show going5.3)Maybe got the Slide show going

There is still the signage to add to the wall but Liane will be focusing on that, while I try to do the documentary photography. Liane moved the packing material out and Glenn gave the space a final sweep and we were ready for people!!

getting ready to put up the signage for the pieces.5.4)  getting ready to put up the signage for the pieces.

We do not have a T-square or sharp exacto so all the info is going by the Exhibit sign and it will be a bit more interactive.

the signs are up and were just have to clear the table away5.5) the signs are up and we just have to clear the table away

Glenn gives the exhibit a quick sweep5.6) Glenn gives the exhibit a quick sweep

 The folding table is about to disappear and we will be ready for the show to start! You have seen the set-up.  So, please remember to get a glass of Red or white wine and a few nibblies and join me next week where I will give you a privet tour, and show you the pieces, particularly the felting. Then finally, I will show you a few shots of the Vinasage.

Have fun and keep Felting!

Shepherdess and Sheep

Shepherdess and Sheep

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I spent some time working on the flock of sheep. Maybe not the most elegant sheep transport and sounds a bit like a horror show when you say a bag of sheep and sheep parts but it’s a bit of a production line when working on a flock of them.

As you can see I was being supervised in my Dr Franinstien endeavours. In this picture, she is wearing her first shirt and coat. You can see the sleeves are too big around and I didn’t like the way the hood worked on this one.

 

Last time I had finished the clothing, or so I thought. I ended up doing the shirt 4 times to get it the way I wanted it. The third one would have worked but I cut the neck hole too big.

I did get them finished and she had a dress fitting. I added a blanket stitch to the neckline and a blue star to her dress. I think this kind of dress is called a pinafore. You can see some of her flock in the background.

I took her to the Almont Fiberfest that Jan told you about and she supervised while I got her sheep some wool. This is the opposite of the way sheep, wool and shepherdesses usually work.

And another unshearing.

Next post there will be hair, a new coat and more colourful sheep. And a picture of them on display at the museum.

Happy Thanksgiving to all our Canadian followers. I hope you had a great Turkey Day!