Many travellers to the Indian subcontinent talk of being overwhelmed and left disoriented by the colours, sounds, smells when they first arrive.
I imagine a Garden full of exotic flowers and birds, fountains, gazebos and sunshine – so many wonders, so bright and beautiful, that all I can perceive is a blur of colour and light. Slowly my eyes refocus until I can see a single bloom.
ATASDA (The Australian Textile Arts and Surface Design Association) is launching a new exhibition soon – The Maharajah’s Garden. It’s a suitcase exhibition – a collection of textile art pieces, banners to decorate the venue, techniques boards, publicity material, white gloves for handling work etc, all fitting into one large suitcase (actually two suitcases, due to the amount of work submitted). Each suitcase will travel independently around Australia for the next two years, visiting schools and communities. Anyone can ask to host the exhibition – the only cost is postage to the next venue.
ATASDA has had a couple of suitcase exhibitions in the past which were very successful. This is my first chance to participate and I was keen to make sure weaving was included – ATASDA members use a huge range of textile and surface design techniques. We were asked to respond to the theme The Maharajah’s Garden with rich, brilliantly coloured artworks.
Each suitcase will include 20 – 30 banner sections, each with ribbon ties so they can be used flexibly to decorate the different venues. I used an offcut from my main piece on my banner, with a flower shape based on the sequinned bloom on the hanging.
Handwoven wallhanging, unlined, 47 x 40 cm.
Warp: 22/2 cottolin sett at 18 ends per inch. I put out all the cones I had in “garden” colours and wound with 4 threads at a time. Each trip round the warping board I changed 1, sometimes 2, colours. When threading I chose fairly much at random from each group of 4 threads. I wanted a not-too-stripey “sunlight dappled” effect.
Threading and liftplan: rosepath (slightly more detailed explanation here).
Weft: mainly torn and cut strips of fabrics – organza, chiffon, lamé, silks and synthetics. I created big piles of torn pieces, then knotted them together in a semi-random order (that is, I picked up a piece at random and threw it back in the pile if I didn’t want it at that point).
There are also sections using some of my mother’s embroidery threads. Plus there is a fine cotton thread used as a tabby (plain weave pick between each “fancy” pick). The hanging will do a lot of travelling over the next two years, and the tabby gives some needed stability and strength.
Weaving: I used the clasped weft technique throughout. Kaz of curiousweaver has a great video tutorial here. Most of the time I used a weft from each side, but here and there I used three at once – a shuttle from each side and a third yarn source in the middle (in the photo some of mum’s embroidery thread). Also in the photo you can see the shuttle of fine cotton for the tabby weft. Although the weft was knotted randomly I could juggle placement by seeing what was coming up and choosing my clasping points.
I don’t know the age of the sequinned and chain-stitch flower. It’s worked on a fine purple silk chiffon and was given to me a few years ago (by another ATASDA member).
A major part of the exhibition’s purpose is to enthuse viewers (school students and others) to go home and try a new technique using textiles and fibres. We were all asked to include an A3 techniques board, giving basic instructions in a technical skill. It would be great if someone decided to give weaving a go after seeing the exhibition, but there will be such variety and such strong work from others that cacophony could get lost in the general blaze of colour!
If you’re in Australia and would like one of the suitcases to visit your area, check the ATASDA website for contact information. They are already taking bookings and have venues pencilled in for every state.