Visual diaries

Nothing like looking through a friends visual diary. Finding out those things that interest others in their making is always facinating. I love using those middle sized black moleskin books but the paper is not the best for drawing on, especially with ink. I usually draw onto heavy based papers that don't bleed and add them at a later date. So in light of a new year, a new studio almost all set up and a new visual diary, I thought I would post photographs of mine from the past year.

Emmet Gowin photograph on the right.





Drawings of work from RMIT Schmuck show.
Karl Fritsch jewellery on the left. I would love one of his rings one day.

Ivan da Silva Bruhns carpet on left.
A neckpiece I made late last year.
I thought I would end on the last two things I made in 2010. Kumihimo braided rope for neckpieces. On the left is a charcoal silk piece I'm wearing wrapped around my wrist a few times over. Looking forward to plenty more making this year.

Rugs

Who would have thought that after finishing a simple weft-faced sample in a first year weaving class, that I would become so addicted to rugs. I find myself invariably turning the corner over of any rug I come across to see if it is hand knotted. In weft-faced rugs, the warp lies hidden in the middle thickness of the rug and is only seen at the fringes. It is covered almost entirely of closely beaten weft. That being said, not all rugs are weft-faced. By far, my favorite technique in carpets is knotted pile. It is not only because they are steeped in such a rich history, but also because they are probably the slowest of all techniques and therefore require a certain type of madness in attempting to create one.

Weaving on a vertical loom.

Nothing like a hand drawn diagram. These ones illustrate two of the most common types of knots used for pile rugs as well as tapestry weave. On the right is a Sehna or Persian knot and the middle a Ghiordes knot. Ghiordes is a town in northern Irak, from which have come rugs knotted in this manner. There are different reasons for using either knot, while the Ghiodes is much more secure and lends itself to long pile rugs, the Persian knot allows for more knots to be tied per square inch, hence a much more complex design can be woven.

Marta Maas-Fjetterstrom

The Silver Rug c. 1923.

I swoon over this rya rug.

Otti Berger

Flatweave carpet c. 1930

Marta Maas-Fjetterstrom

Black Garden c. 1925

Marion Dorn

Pile carpet with a geometric design c. 1930s

Marion Dorn

Lobby of Claridges Hotel London c. 1935

Eileen Gray

Design for Centimeter c. 1926-29

Centimeter

Eileen Gray

Felt mat c. 1928

Ivan Da Silva Bruhns

Carpet c. 1927

The carpets of Ivan Da Silva Bruhns are among the most highly sought French Art Deco Carpets. If I could own any, it would have to be the one below. I especially love how carpets made during this time were usually signed with the name of the designer or workshop with a monogram.

Ivan Da Silva Bruhns

One of a set of three carpets c. 1935

Sonia Delaunay

Carpet c. 1925

Two amazing books if you want to know more. For technique, The Techniques of Rug Weaving by Peter Collingwood. For Modernist Rugs, the book Art Deco and Modernist Carpets by Susan Day is an invaluable resource.