The Looms and the Art of Ulrika Leander

Mid-Shore Arts: The Looms and Art of Ulrika Leander

The art world has just a few very special heros who take it upon themselves to work in mediums requiring intense intricacy, precision, and endless patience to complete their work. And nowhere else can one find that special breed stand out more than those who chose the art of tapestry for their artistic expression.

And one can officially include the Mid-Shore’s Ulrika Leander in that select group.

Starting at the age of thirteen in her native Sweden, Ulrika has become one of the great masters of the loom with her intentionally beautiful and large tapestries created in her generous studio a short walk from the Oxford-Bellevue Ferry.

Like clockwork, Ulrika works every day in front of one of her three custom-built looms to produce art that is proudly hung in museums and private homes throughout the world. With a typical project taking well over six months to complete, Leander has found a particular zone to operate in as she plots along a single line of fiber during a day’s work.

In her Spy interview a few weeks ago, she talks about this unique, centuries-old practice, and how she enjoys the special challenges that come with the making one-of-a-kind tapestries.

This video is approximately four minutes in length. For more information on Ulrika Leander work and studio, please go here.

Butterfly tapestry

In the middle of the winter it’s quite lovely to weave a tapestry reminding you about summertime. This tapestry is woven from the side using a very complex technique. The 4th image shows the design in the correct direction. Finished, the tapestry will measure about 48 ins high and 72 ins wide. I started the tapestry in November 2016 and I estimate that the weaving process will take me through late spring. The tapestry will be available for sale when completed.

Contemporary Tapestry Weaving – tapestry@goeaston.net

butterflyfjaril-detalj-december-21-2016butterfly-progress-dec-21jan-2jan-3

Corbusier Tapestry

Le Corbusier Tapestry Unveiled at the Sydney Opera House, 58 Years After Commission

Earlier this week, fifty-eight years after it was commissioned, a seventy-square-foot wool tapestry by Le Corbusier was finally installed at the Sydney Opera House. The work was originally commissioned by the architect who designed the iconic waterfront opera house, Jørn Utzon. At that time Utzon was an unknown and Le Corbusier, at the height of his career, rarely collaborated with other architects, reports Caroline Taïx, Le Monde’s Sydney-based correspondent

In 1960, Le Corbusier delivered the red and black tapestry titled Les Dés Sont Jetés (The Dice Are Cast), but, as the opera was still under construction, Utzon kept it in his home in Denmark. Then, in 1965 amidst construction delays, budget problems, and creative differences, Utzon left the project. In 1973 when the opera finally opened, neither the architect nor the tapestry went to Sydney.

Utzon died in 2008 and The Dice Are Cast was sold at as part of an auction of his collection last year. It was purchased more than $300,000 by donors to the Sydney Opera.

Foundry Art Centre, St. Charles, MO – “IMPACT”, March 18-April 29, 2016 – “The Juror’s Choice Award”

Before Time high res

 The tapestry “Before Time” received the “Juror’s Choice Award” in the exhibit “Impact”.
 ctw-tapestry.com

impact

March 18 – April 29, 2016

OPENING RECEPTION | MARCH 18, 6 – 8 PM | FREE

THE EXHIBITION

“Impact” explores the motivations of the artist to create. We ask the artist to answer through their artwork, “What inspires you? Who or what is the driving force behind your need to create? What has left an impression on you that lead you to become the artist you are today?” Whether it is a mentor, an event, a concept, or a personal revelation, this exhibition will examine the many avenues that impact the contemporary artist.

ACCEPTED ARTISTS

Ann Aurbach, Darcy Berg, Joyce Blunk, Matthew Boonstra, Christine Casten, Dion Dion, Emily Dvorin, Michael Fischerkeller, Morris Fletcher, Marni Gable, Jennifer Halli, Michelle Hamilton, Lisa Hinrichs, Mercedes Jelinek, Kris Kessinger, Ruth Kolker, Ulrika Leander, Heather Macali, Melissa McCutcheon, Ed McKay, Rachel Meginnes, Caitlin Metz, Linda Mueller, William Neukomm, Sara Nordling, Elizabeth Odiorne, Geoffrey Parker, Judith Repke, Rachel Santel, Carolyn Schlueter, Elizabeth Sharpe, Suzanne Sidebottom, Samuel Strecker, Michelle Streiff, Brittany Taylor, Ben Underwood, Barbara Watler, Jerry Walters, Teresa Wang, Peggy Wyman, and David Yates.

Juror

Jane Sauer

Jane Sauer is a studio artist, juror, lecturer, curator and former owner of Jane Sauer Gallery in Santa Fe, NM. She served as Chair of the American Craft Council 1997-2000, besides serving on numerous other art related boards,  and is currently the owner of Sauer Art Consultants.

Sauer’s woven sculptures often consist of pairs or small groups and explore human relationships, particularly those in her own life. Her list of honors includes two NEA grants and taking first place at the Fourth International Exhibit of Miniature Textiles at the British Crafts Centre in London. Her work is in the permanent collections of the Smithsonian American Art Museum in Washington, DC, the Saint Louis Art Museum, the American Craft Museum in New York, the Detroit Institute of Art, the Philadelphia Museum of Art, and Wadsworth Athenaeum in Hartford, Connecticut.

Black Night (in 3 parts), Jane Sauer

Concurrence, Jane Sauer

Elaborate Layers, Jane Sauer

Foundry Art Centre

520 N. Main Center

St. Charles, MO 63301

636-255-0270

Wissa Wassef Tapestry

Animals by the Watering Hole, tapestry, 'Ali Salim, 1985. Museum no. ME.1-2008

Animals by the Watering Hole, tapestry, ‘Ali Salim, 1985. Museum no. ME.1-2008

For many European tourists in Egypt a stop at the art centre in Harraniyyah is an essential part of their holiday experience. The centre, which was founded in 1952 by the architect Ramses Wissa Wassef, is now a prominent landmark on the cultural landscape of contemporary Egypt and its artistic products are popular with collectors, museums and galleries around the globe. This article highlights a Harraniyyah tapestry recently acquired by the Victoria and Albert Museum and considers its distinctive history and design aesthetic.

Despite its established reputation today, the art centre evolved from a bold piece of 1950s experimentation. Its founders, Ramses Wissa Wassef, his wife Sophie and her father, the educator Habib Gorgi, held a passionate belief in the inherent creativity of children; a creativity which they considered to be easily stifled by overly-critical parenting and teaching styles. They were also dedicated to the revival of traditional Egyptian crafts techniques such as pottery and weaving which they felt to be under threat from expanding industrialisation. In 1952 the Wassefs and Gorgi purchased a small piece of land outside the village of Harraniyyah, near the pyramids of Gizah, where they built a small studio in a traditional Upper-Egyptian mud-brick style. They selected several local children and provided each with a loom and locally-grown wool. The children were given no training in design skills and were encouraged to visualise their designs rather than make preliminary drawings in order to preserve the ‘freshness’ of their aesthetic vision. For the same reason, the woven portion of a child’s work was kept rolled up so that the weaver wouldn’t be able to see the whole until the textile was complete.

Design inspiration came in the form of day trips, outings and picnics but the children were also encouraged to draw deeply on their imaginations. No criticism was made of their work as developing the children’s confidence was paramount. Slowly, a distinctive style emerged. The most common subjects were aspects of village life and the natural world. Fantastical, imaginary scenes and creatures also featured. These were depicted in bold colour, with wools dyed onsite using natural dyes according to the centre’s emphasis on self-sufficiency.

Most of the committed weavers were female but in 1959 a twelve-year-old boy asked to join the centre. ‘Ali Salim went on to become one of its best-known weavers. The tapestry recently acquired by the V&A was created by Salim. It is dated 1985 and includes the weaver’s signature at the bottom right alongside the initials ‘W.W’ (for Wissa Wassef). On a label on the back, the maker’s name is also given as ‘Korayem Silem’. Typically, the tapestry depicts a scene from the natural world, ‘Animals by the watering hole’, in which elephants wade, baboons play in a tree, lions hunt their quarry (a herd of gazelles) and birds rest in the trees above. Despite its naïve style, the lively animals and the blocks of colour used to depict the trees, plants and natural landscape give the tapestry an energy and dynamism. The weaving technique is characteristic of the art centre’s style which sought to produce ‘woven paintings’ rather than conventional tapestries. Instead of carrying the weft thread across the full width of the loom Salim has used the coloured wool only where it is needed. This has created an uneven tension across the tapestry and a slightly rippled surface.

The donor of the tapestry brought it from a Harraniyyah workshop the same year it was created. Given to the V&A in 2008, ‘Ali Salim’s piece offers a unique contemporary counterpoint to the Museum’s important and extensive collection of Ancient Egyptian woven textiles.

Fine Art Tapestry

Swedish Landscape in Fine Art and Tapestry

Illustration: Helmer Jonas Osslund. Varafton Bakom Kiruna.
 
Swedish tapestry design of the early twentieth century was known at the time as probably some of the best woven artwork being produced in Europe. Much of the narrative and compositional work was based on the landscape and tended to follow what was termed as typical of the Swedish natural environment. Many of the tapestry pieces produced by a range of fine and decorative artists contained the colors, tones and textures that were so much a part of the Swedish identity across so many disciplines, but particularly in textiles.
Fine art and tapestry during this period enjoyed a particularly close relationship. Swedish artists showed a creative interpretation, but also an innate understanding of color, tone and texture. The relationship between artist and color seemed so apparent to many outsiders that it was often seen as an integral part of the Swedish fine art and tapestry scene, so much so that it was often stated that Swedish artists placed ‘…great weight…on colors and their values.’
It seems fitting therefore to place two illustrations, one fine art and one tapestry, beside each other in the same article. They were not produced by the same artist; the painting is by Helmer Jonas Osslund and the tapestry by Henrik Krogh. However, it perhaps needs to be seen how close fine and tapestry art were considered to be during this period. Tapestry in particular was entering a rich new creative phase of its life in Sweden. Woven textiles had a long and traditional history in Sweden, but it was not until the latter part of the nineteenth century that weaving within the remit of tapestry, really began to be opened up as a contemporary art form.
Illustration: Henrik Krogh. The Spruce Coppice, c1913.
 
Both fine art and tapestry became linked with the search for idyllic ruralism and even a search for the untouched wilderness as portrayed by scenes of Sweden’s northern provinces. In some respects, both fine and tapestry art were influenced by the Swedish Arts and Crafts movement, which in its turn was initially influenced by the English Arts and Crafts movement. With the late but rapid industrialization of Sweden and the urbanization of at least part of its population, the search for an idyllic rural life in the 1890s was just as important and illusive as the same search had been in England. However, although rural idylls and utopias always seemed to struggle with the realities and practicalities of industrial Europe, the ideal did fuel the creative arts. So much so that in many respects the Arts and Crafts movement which took place in many European states and regions, and for a variety of differing reasons, produced some of the best in hand produced decorative arts work.
To see fine art and tapestry in tandem with each other, sharing the same inspirational origins and with similar results, allows us to see how closely the two mediums could work together when inspired to do so. Osslund’s painting Varafton Bakom Kiruna could well have been commissioned as a tapestry work, and Krogh’s The Spruce Coppice could equally have been commissioned as an original fine art piece. Both are beautifully proportioned and use color and tone to its most dramatic effect. Texture is inbuilt and implied, taking on a creative naturalism that is easily identified with the landscape. Although one composition appears enclosed and insular and the other open and expansive, the color themes which range from the rich and deep earth tones to the series of greens and yellows that denote foliage, are in some ways so similar that they could be said to be part of the same sense of creative and observational characteristics and they certainly share a part of the Swedish environmental identity.
By showing these two pieces of work it is hoped that it gives some indication of the artistic creativity that came to fruition during the early part of the twentieth century in Sweden. That Sweden had a strong native tradition of creativity, one that is often considered to be perhaps one of the oldest unbroken craft systems in Europe, did not stop native Swedes from allowing a sense of contemporary and expansive creative freedom being added to the traditions of the past. It is this continuation of tradition through the contemporary that has made Swedish art, design and decoration so successful and such an essential part of the decorative and creative arts of our own time. It is perhaps an understanding that tradition does not necessarily entail intransigence and retreat, which should in its turn be seen as perhaps a lifesaving attitude to take when considering those same traditions in other parts of Europe that have and are struggling to survive as part of the contemporary world.

Artwork to tapestry; what is contemporary tapestry?

John_Olsen_Tapestry

Top image: John Olsen, Lily Pond (detail), 1984. Commissioned for the Eva and Marc Bresson Collection. © The artist/Australian Tapestry Workshop

Artwork to tapestry: What is contemporary tapestry?

[PUBLISHED IN THE EXHIBITION PUBLICATION ARTWORK TO TAPESTRY, 2011. © TARRAWARRA MUSEUM OF ART/IAN WERE]

What is contemporary tapestry?
Well, it is . . . a coarse, vigorous organic fabric . . . It is heavy with matter and heavy with meaning. But it is more, it is heavy with intentions. It is this which secures its magnificence to man and therefore to the building.¹

So said French painter, Jean Lurçat, credited not only with championing tapestry as a significant architectural element but also with the renaissance of the French tapestry tradition. Soon after the end of World War II, Lurçat gathered a group of French artists at the Aubusson Tapestry Workshop to pursue a new approach to the age-old textile, arguing that tapestries were the ideal wall decoration to replace frescos.2  

The history of the art of Western tapestry, and of the famous European workshops associated with it, is integral to the history of painting and architecture. Tapestry has played a time-honored role in architecture, humanizing spaces in buildings both public and private through its natural charm and its softening effect, both texturally and acoustically. The revival of tapestry in the twentieth century claims inspiration from medieval times when workshops — which had been trying to imitate paintings and compete with each other for fidelity of reproduction — returned to the principles of weaving based on traditional methods, and artists began entrusting their designs to the skill and judgment of workshop weavers.

Since its inception in 1976, the Melbourne-based Australian Tapestry Workshop’s (ATW) philosophy has been to employ weavers that are trained artists to work closely with the artists who design the tapestries — to create unique works of art, rather than just reproduce a design in woven form. As founding director Sue Walker said, ‘each [tapestry] is an original work of art created through the dynamic interaction of the artist, the weaver . . . and the collector or client commissioning the work’.3 Over the last three and a half decades many notable Australian and international artists and architects have collaborated with the ATW’s artist-weavers.

A notable example was when Romaldo Giurgola, architect for Parliament House, Canberra, welcomed the collaboration that resulted in Arthur Boyd’s Great Hall Tapestry (1984−88), one of the largest tapestries in the world. ‘What is important to me’, he said, ‘is the Workshop’s potential for collaborative work, work which transcends the usual barriers between client and architect or between architect and artist or between built forms and works of art.4

The process of interpreting an artwork and creating a tapestry is a complex and fascinating one. The Workshop first selects a color palette based on the artwork from the ATW’s range of dyes — over 370 colors on wool and more than 200 colors on cotton, all hand-dyed — and then weaves interpretative samples. The upright loom is prepared for weaving by wrapping cotton warps (yarns placed lengthwise in the loom) around the bottom roller and then threading them through the reed (a series of parallel wires that separate the threads of the warp). The loom is now ready for the cartoon — traditionally a sketch based on the art work but, for the ATW, is usually a black and white photographic enlargement or a line drawing — which becomes the design for the tapestry. The weaving can now begin and collaboration between artist and weaver continues throughout. On completion the tapestry is rolled up on the top roller so that the image can be viewed before it is cut off.

Over the last 35 years the ATW’s skilled weavers have produced an extraordinary collection of tapestries for a wide range of purposes. Monumental tapestries have been commissioned as part of the design of iconic buildings and notable suites of tapestries and significant examples of public art have been created. Commissions within Australia and internationally have resulted in an array of tapestries for private, public and corporate art collections.

Two of the nine artists in this exhibition are John Coburn and John Olsen, both of whom were among the first to collaborate with the ATW. More than any other Australian artist, Coburn displayed a true affinity with the tapestry medium, designing almost 100 tapestries over the four decades of his life. Coburn’s love of tapestry was triggered by seeing the 1956 exhibition of contemporary French tapestries at the Art Gallery of New South Wales, which inspired him to live and work in France for several years in the late 1960s and early 1970s. He produced a number of tapestries with the Aubusson Tapestry Workshop including the acclaimed Sydney Opera House curtains, but, the establishment of the ATW in 1976, allowed him to shift production from France to collaboration at home.

Garden_of_life-_Coburn

Coburn’s bold graphic forms and vibrant colors were an ideal match for tapestry translation. His deceptively simple curvilinear forms were a challenge for weaving, with competence in producing a ‘Coburn curve’ the benchmark of a highly skilled weaver.5 In this exhibition his Garden of Life (2000), which provided great scope for the weavers to develop rich textures, is no exception.

John Olsen was the first Australian artist to design for tapestry, working with workshops in France and Portugal in the 1960s before commencing collaboration with the ATW in 1981. One major tapestry, Rising suns over Australia Felix (1997), was commissioned by the Department of Foreign Affairs and Trade and its monumental scale conjures the vastness of the Australian continent. In Olsen’s vibrant tapestry Lily Pond (in this exhibition) — commissioned for the collection of Eva and Marc Besen in 1984 — the weavers have effectively translated the lyrical lines that are a hallmark of Olsen’s painting.

The other seven works in Artwork to Tapestry represent the versatility of the medium and its ability to interpret a range of original artworks — from paintings of various styles to two large-scale prints to a lively gouache to a modest-sized photograph. In this exhibition are three diverse painters: Gareth Sansom, Angela Brennan and Song Ling.

4.0.1

Sansom’s expressionistic paintings combine iconoclastic and sexually explicit imagery with rebellious humor. His Family trust (1990) brims with contorted faces with disembodied eyes, all writhing in a patch-worked pattern. Unlike most other artists commissioned by the Workshop, Sansom did not desire active collaboration during the development of his tapestry. However, he confessed that his curiosity had so piqued that, while the work was in progress, he prowled around the Workshop at night, trying to catch a glimpse of it on the loom.6

The enigmatic title of Angela Brennan’s tapestry, It was not I that looked (2006), is taken from twentieth-century modernist painter Paul Klee who wrote in a journal, ‘It was not I who looked at the trees, the trees were looking at me’. Brennan, intrigued by the translation of the painting into tapestry, visited the Workshop several times to see the preliminary drawings and color samples. For her, the developing tapestry took on a new life. ‘I was fascinated’ she notes, ‘to see the work . . . emerging independently from its original source’.7

SLKF08-_Completed_tapestry_cropped

Song Ling’s art work for the tapestry, Kong fu – our dream 1 (2009) — inspired by Japanese animation and manga comics — has a bold, graphic style. But, he said: ‘The colors I use are often found in Chinese folk art and embroidery. Old technique versus new technique, traditional versus modern; color versus colour.’8 Ling was also curious to see how his painting would translate to a tapestry, and a visit to the Workshop enabled him to discuss the weavers’ interpretation and the nuances of color.

The original artworks for the four remaining tapestries were two prints (GW Bot and Geoffrey Ricardo), a gouache (John Wolseley) and a photograph (Yvonne Todd). GW Bot’s tapestry, Glyphs, was conceived as a large-scale relief print on tapa cloth in 2005. The cloth, made from bark and sourced from Tonga, is used as both swaddling for new-born infants and as funerary shrouds. According to the artist, the glyphs are ‘a form of shorthand calligraphy dealing with the Australian landscape . . . symbolically and metaphorically’.9 The colors, translated in woven form, are in rusty reds and browns, broken up by black jagged forms echoing natural objects such as fallen branches, burnt tree trunks or termite mounds.

Geoffrey Ricardo’s art often employs a figurative-based narrative tinged with humor and, sometimes, a sense of the absurd. Since 1993 Ricardo has closely collaborated with the ATW on four tapestries, large-scale and smaller, including the one in this exhibition. Emblem (1999), based on an aquatint and dry-point print of an ambiguous human−kangaroo figure, was the result of a particularly intense working partnership with an ATW weaver, resulting in this strange and compelling tapestry.

Wolseley_Tapestry

For his tapestry, Fire and water-moths, swamps and lava flows of the Hamilton region (2010), John Wolseley was commissioned to create an original design, consequently spending a week in the wilds of the Hamilton region in Victoria, painting and recording. The enchanting gouache study on paper is full of observations — the moths, lava flows and volcanic sinkholes that characterize the area — scribbled on the page margins. Wolseley then enlarged the study on a color photocopier, reassembled it, and painted back onto the copy, creating a new art work. In realizing their interpretation in wool and cotton, the weavers have used both the original and revised versions.

In 2006, with sponsorship from Tim and Gina Fairfax, the Queensland Art Gallery (QAG) commissioned an ATW tapestry for its collection, Alice Bayke (2008), working closely with photographer Yvonne Todd. ‘It was the involvement with the . . . Workshop . . . that was exciting and rewarding’, said the Fairfaxes.10 As QAG Curator Maud Page finds, Alice Bayke conveys a palpable sense of psychological unease: ‘The key to Todd’s portraits is the deadpan expressions on her protagonists, carefully constructed through conflicting facial elements: mournful eyes, slightly wet lips. The Alice Bayke tapestry does all of that and more’.11

With its rich colors, strong images, hand-made tactile surfaces, and range of scale from palm-size to monumental, tapestry today enjoys a renewed vigor as part of the contemporary art world. The richness of woven color, derived from the mixing of multiple strands of vibrant, specially-dyed yarns, is a technique that is one of the hallmarks of the Australian Tapestry Workshop. As this exhibition vividly demonstrates, tapestry — ideally suited to large spaces — complements the varied surfaces and materials of modern architecture creating an atmosphere of warmth and color.

Progress photo of ongoing tapestry commission for a private home in Laguna Beach, CA, “Serenity” – 83″ x 55″

Dick 1 (2)

 

Ctw-tapestry.com

Artist’s studio and home

Artist’s studio and home for sale in Bellevue, Maryland.

5592 Poplar Ln, Royal Oak, MD 21662

3 bedrooms, 2.5 baths

5,217 sq.ft.

Located in the heart of Bellevue, close to the Oxford-Bellevue Ferry, public boat ramp and park, this spacious home offers a contemporary lifestyle in the roots of history. Built in 1898 and renovated in 2006, this light- filled home has an open floor plan with high ceilings, an eat-in European gourmet kitchen and hardwood floors. An adjoining 1700 sq. ft. room provides a perfect artist’s studio and gallery, although the commercial zoning allows for many other uses or simply conversion to additional residential space. The property sits on four lots and has a wealth of mature trees, perennial flower beds and raised gardens. The large parking area allows easy storage for boats or recreation vehicles. Located 7 minutes from St. Michaels and 11 minutes from Easton or just a short ferry ride to Oxford, fine eating and shopping, music, plays and galleries are just a short drive away. A perfect home, conveniently located for those who love biking, boating, fishing and walking or simply need a peaceful place to live and work.

Offered by Benson & Mangold Real Estate

Agent: Debra Crouch

Direct: (410) 924-0771

Office: (410) 745-0720

E-mail: debracrouch@mris.com

Image 1

Image 5Image 4Image 6

Image 7

Image 8

Image 9Image 10