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Fine Art Tapestry

 

From the days of the Vikings, the loom has been a basic household furnishing in Scandinavia. As a child, I sat at my grandmother's side on the loom bench, as she wove her “treasures” of fancy weaving ... rugs, wall hangings and patterned fabrics. My Grandfather Carlson built her high castled box loom.

Regina Loom in StudioLater, in high school, I experimented with latch-hook rug weaving and, still later, designed rugs and hangings for my mother's hooked rugs.

In the late 40's, I saw an exhibition of modern French tapestries by Jean Lurcat and his fellow designers at the Worcester Art Museum, where I was a student at the art school. These images became etched in my memory.

In 1950-51, at Yale’s School of Fine Arts, I studied the interaction of color through countless paper collages with Josef Albers. However, his wife, Anni, was a formidable weaver/designer in her own right. Her work and writings on tapestry weaving are seminal to my work in fibers.

In 1971, I spent several months in Ireland and, at Killibegs, I visited a rug and tapestry works. I was intrigued by what I saw and, when I returned to the States, I began my first tapestry weaving on a loom that I built based on a vertical Navaho rug loom. And, as it is said, “The rest is history”.

My designs, for the most part, are abstract, based on the technical restrictions of tapestry weaving. I reject realism per se, as I have no interest in doing in fiber what is far easier to do in drawing or painting. I opt for the vibrant color possibilities inherent in dyed wool, acrylic and metal fibers, and the power of straight-forward forms that result from the simple “tabby” weave and interlocking of edges. I often blend colors, sometimes harmonious and sometimes disparate ... called, in the French tradition melange or chinÁ. I utilize the techniques of Flemskväv, Kilem, Soumac and Native American weaving.

In a sense, I try to let the tapestry weave itself.

 

ON WEAVING”
ANNI ALBERS, 1965

I HAVE MADE NO DISTINCTION BETWEEN THE
CRAFTSMAN DESIGNER,
THE INDUSTRIAL DESIGNER, AND THE ARTIST
BECAUSE THE FUNDAMENTAL,
IF NOT THE SPECIFIC CONSIDERATIONS
ARE THE SAME ...
FOR THOSE WHO WORK WITH THE CONSCIENCE
AND THE APPERCEPTION OF THE ARTIST.”

 

The Peaceweaver's Web Tapestry

More about the Peaceweaver's Web

Peaceweaver Fine Art Tapestry

 

Camelot

60" x 50"

Camelot Fine Art Tapestry

 

Moon Weeds

Private Collection

Moon Weeds

 

Along the Long River

Along the Long River Fine Art Tapestry

 

The Burning Bush

Private Collection

The Burning Bush Fine Art Tapestry

 

 

Ballo In Maschera”
The Masked Ball

Persian wool, DMC floss, metal fibers and Japan gold on 10/2 cotton warp, Spaced 11 ends per inch. It took two awards in 2001 at the New England Weavers exhibit: First Place in Tapestry & Best in Show.

It is a abstract visual interpretation, in wool weft on linen warp, based on the opera by Giuseppi Verdi, Un Ballo in Maschera.
16" x 16"
1990

Ballo In Maschera Fine Art Tapestry

 

 

Hans' Tapestry Sample

Hans' Tapestry Sample

 

 

Lozengers and Squares

Lozengers and Squares Fine Art Tapestry

 

 

Gifts of the Magi

Gifts of the Magi Fine Art Tapestry

 

 

Diamond Tapestry

 

Diamond Fine Art Tapestry

 

 

Angel Head

Angel Head Fine Art Tapestry

 

 

Millefleur Tapestry

About 30" x 40" cotton warp, wool weft.

Millefleur Fine Art Tapestry

 

 

Evolution of a slanted top tapestry to fit ceiling slope

Private Collection

 

Slanted top fine art tapestry on loom

 

 

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