I’m on holiday, I’ve decided.
I don’t want to think about books. That means I don’t want to think about
writing them, researching for them, publishing them, most definitely not
marketing them and not even reading them [because the minute I start reading, I
want to write]. I don’t want to think
about the grand e-books versus dead-tree book debate. I don’t want to analyse
my reader statistics. I don’t want to work the social networks, certainly not
after the bout of cyber-bullying I’ve just been through [if you want to know
more about this, go to my August 21st post on Authors Electric].
I’ve had it with all that.
It’s August. I want fun.
But what do authors do when
they want fun [answers please on a postcard, or the comments section below this
post will do]? Well, this author
weaves. It’s something I used to do when I was young, but my loom was stolen
when our house was burgled and until a couple of years ago, I couldn’t afford
to replace it. Now, however, I
have two looms – one for cloth, the other for woven tapestries. And for the
last two years, I’ve been weaving for an exhibition that [panic] is coming up
next month.
Tapestry weaving is very
slow. You sit at a loom all day,
as I did yesterday, and weave no more than a foot square at most. In this respect, it’s not much
different to writing a novel. In
order to do it, you have to be comfortable with delayed gratification. A
tapestry can take months before it’s ready to cut off the loom. But, slow or not, it’s the perfect
antidote to writing because it has no words. It’s the perfect escape. It’s better than the gym - which is where I used to go when
I wanted to escape the novels writing themselves in my head, refusing to stop
when the computer was switched off.
It’s another world
entirely. One beyond words, where
colour tells the stories and shape and texture all have interesting things to
say. Over the last couple of
years, I’ve been working with the Burleigh Map of Tudor Shrewsbury, a small
illustrated map of the town within the river loop, all its main streets and
alleys still clearly identifiable today, breaking it into sections, blowing
these up and turning them into a series tapestries.
It’s extraordinary to think
that this ancient map - commissioned by William Cecil as a gift for Elizabeth I
- outlines a town that still is recognisable. It’s not just the castle that I’ve woven, the churches and
the ancient bridges [not to say anything of a few enormous swans], but shutts
and passages that can still be found today and houses that I’ve been into
myself and know well.
Now I’m busy framing, ready
for my exhibition, and the walls are filling up with the labours of my last two
years. They’re not abstract
tapestries. They all tell stories
which are plain to see. I might be able to shake off words, but not my sense of
narrative. Even as a weaver, I’m an author too.
I first fell in love with
tapestry when, as a young weaver, I came across the weavers of Harania in
Egypt. Their vibrant tapestries, I
discovered to my astonishment, had been produced by children. Not
child slave-workers, I hasten to add, but free children, working freely and
creatively. Extraordinarily, these
children’s weavings weren’t part of a local tradition. The village of Harania had no such
tradition - which was why it had been selected for a great experiment.
In mid-twentieth century
Egypt, Wissa Wassa Wassef was a figure of William Morris stature. Wanting to
prove that innate creative ability lies within all of us, he taught the
principles of weaving to any of Harania’s children who were interested,
provided them with materials and undertook to buy everything they made. His only provisos were that the
children should not look at works of art to find their inspiration, and that
they shouldn’t make designs in advance but make design part of the weaving
process, working directly on the loom.
The results of this
experiment are quite literally stunning. Do click the link above, to the Wissa Wassef Art Centre just outside Cairo for a real
feast. You’ll be missing out if you don’t. As an untutored artist, I found
myself overwhelmed with inspiration and determined to weave in the same
way. And when Harania came to
London, I went down to the Barbican, met the weavers – all adults now and since
then a second generation of child weavers have become adults too - watched them
at their looms, their fingers flying, and came away with everything I could buy
– postcards, posters, even one of the tapestries [which cost a lot at the time
but, believe me, is worth a lot more now].
Weaving has been good to the
people of Harania. And they’ve
been good to the world of contemporary tapestry. Tapestry is an ancient art form. The Greeks considered it a
vital element of interior decoration, the Romans valued tapestries so highly
that they imported them from across the known world and back through the
centuries, palaces and stately homes across Europe have all been decorated with
tapestries.
Into the twentieth century,
weavers like the great Frenchman, Jean Lurcat and the Polish
weaver, Tadek Beutlich, have
inspired a whole army of modern-day tapestry weavers. I know this for a fact, because I’ve recently become a
member of the British Tapestry Group, and the range of work to be found in the
UK today - not to say anything of the work coming out of the American Tapestry Alliance and other groups world wide - is absolutely breathtaking.
If you’re lucky enough to live within reach of
Edinburgh, do visit the Dovecot’s ‘Weaving the Century’
Exhibition, which is on until the end of the month. The Dovecot was set up by
Archie Brennan. Do Google it
or him. And whilst you’re at it, google Jean Lurcat too [here's an interesting link to a YouTube tour of his most famous 'Song of the World' tapestries], and the
mighty French town of Angiers along with the word ‘tapestry’ and astonish
yourself with the range of weavings – both medieval and twentieth century, that
come up. There’s a place I’ve got to visit. What a feast!
And, on a more mundane level, if you want to see what I’ve
been up to, HERE is the link. The exhibition ‘Shropshire Yarns is a
collaborative venture between myself and two other tapestry weavers, both
members of the British Tapestry Group.
It’s our homage to a grand tradition and a celebration of Shropshire’s
ancient history in the woollen and flax trade. Our exhibition will be on from
10th September to 13th October. The others have exhibited
before, nationally and internationally, but this is a new departure for
me. I may have been weaving on and
off for years, but this is my first proper exhibition – and I feel terrified
and vulnerable, but very excited too.
Our Private View will be on Friday 7th
September, between 6.00 and 8.00pm.
If you live close enough, do come along. And if you don’t – well, wish me luck.
For my new weaving website: http://paulinefisk.moonfruit.com
For more about my books and my writing life: http://paulinefisk.co.uk
15 comments:
Oooh lovely! I really like the red bird.
I knit - so my eye was caught by the word "yarn". My creative side comes out there too. I can never use other people's patterns - although I might get inspiration from them - but a round or two of cables or yarn overs is good diversional therapy when the writing is not working.
Fascinating post! Thank you so much. I love tapestries and weaving, though I've never done any. I was so inspired by the story of the child weavers of Harania. Wonderful.
Wonderful! Absolutely wonderful!
Fascinating! What a wonderful skill to have acquired!
Fascinating! What a wonderful skill to have acquired!
Looks amazing!
This is almost my ideal post, Pauline! I like knitting but am MAD about tapestry theoretically, and as a spectator and used it a lot in my novel ITHAKA. The thing about Penelope weaving tapestries in exactly the same way you're doing makes me shiver!! Loved the Egyptian site and their work is amazing. I WISH that I could come to your exhibition....if you have postcards of your work I'd love to buy some...I am full of admiration for you!
Beautiful tapestries. I love to do patchwork and make bags and stuff for my children. I think my sewing informs my writing somehow ... it's useful to have another creative outlet.
Burgulars stole your LOOM? That must be a first!
Fascinating post - thank you!
Susan - they also stole our harmonium, David's saxophone, our old station clock, my clothes, our Coalport china - just about everything in those long-ago days when we didn't have much that we actually cared about. I, too, was incredulous at some of the things that went. I spent days staring at the screws, which were all that remained of my taken-apart loom, thinking, 'I must be imagining this.'
Adele - I've never likened myself to Penelope, but I shall from now on. I'm planning on getting cards printed, so will send you some [note to self]. Thanks for your kind words. Thanks, too, for the tweets.
Susan - they also stole our harmonium, David's saxophone, our old station clock, my clothes, our Coalport china - just about everything in those long-ago days when we didn't have much that we actually cared about. I, too, was incredulous at some of the things that went. I spent days staring at the screws, which were all that remained of my taken-apart loom, thinking, 'I must be imagining this.'
Adele - I've never likened myself to Penelope, but I shall from now on. I'm planning on getting cards printed, so will send you some [note to self]. Thanks for your kind words. Thanks, too, for the tweets.
Pauline your work - written and wonven is beautiful!
Wonderful post, your work, woven and written is beautiful!
Oh, what beautiful tapestries! And how exciting that your exhibition will be at The Gateway! I shall definitely come, Pauline, though unfortunately I can't make it to the private view.
In awe. x
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