Weaving

I was trained in painting and weaving and my initial introduction to weaving was at what was then Worthing College of Art, by Ann Sutton (eminent author, designer and weaver) in the 1960s, this was when we were required to take a craft as part of the intermediate exam (now defunct)

 

In the 1970s I worked as a weaver for Helena Hernmarck, (Swedish Tapestry Weaver) now resident in the States. Helena weaves tapestries in a similar technique, mine is an adaptation of her methods.

 

Later I wove a series of Garden Tapestries and undertook various commissions. In the 1980’s I formed a partnership with John Hinchcliffe (weaver) but we moved to ceramics for a couple of decades.

 

Hengitsbury Head Tapesty
Russell-Cotes Museum, Bournemouth
 

I was commissioned to weave this work in 1998

I did not want to weave this tapestry on its side, which would have been necessary had I woven it in one piece this is because of the size of the loom, I needed the floating weft to be horizontal in order to further describe the image, this is not always the case. Therefore I choose the typrich, A form I have always liked in painting and anyway it is more manageable. The piece took 15 months from conception, including the dying of the yarns.

 

My influence was the Dorset coastline and my own paintings are a response to this.  I enjoyed weaving this piece. It is woven in silk and linen but I often use wool. I did not want the hairy quality of wool in this case.

Athelhampton
Cranborne Manor

© 2020 Wendy Barber

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