The Tapestry Weavers meet regularly at the Guild and the Group is open to anyone with an interest in tapestry weaving.
Beginners are welcome. Contact the Guild for more information.
Exquisite Corpse. The Witch. A Group project 2019.
This project was based on the concept of the Exquisite Corpse. This is a method by which a compilation of words or images are collectively assembled. Each collaborator adds to a composition in sequence, either by following a rule or by being allowed to see only the end of what the previous person contributed. To achieve the length required for the six participants, a rolling warp was set up on a vertical loom- which Saffron did for us. 'Witch' was decided as a theme that would allow a good scope of creative input. Mary McArdle started - using her sister's feet as reference. Saffron Lilly Gordon took over adding the flowered skirt, hemlock themed background and Raven familiar. Caroline Johnson wove the belt and bag, adding real leather handles. Heather Smith avoided weaving hands by covering her witch section with a cloak. Jennifer Sharpe wove the wonderful face and flowing hair, and Joy Smith topped it off with the witch's pointed hat and decorative band. After the cutting off ceremony, Joy also volunteered to finish it ready for display. It was an interesting process to be involved in, working on from others weaver's sections, endeavouring to join separate image sections to keep the figure cohesive, without losing each individual's concept.
Exquisite Corpse; The Witch.
The complete tapestry!
For some time I have been weaving images which refer to the elements of the natural environment, both of the visible and generally invisible which are symbiotic. Materials; Cotton, silk fabric torn into strips, wool, silk and rayon yarns.
Study 1. and 2. Joan Korn.
Materials: Seine twine and wool.
Bookmark. 5. Liz Long.
Bookmark 6. Liz Long.
Still Life x 2. Roslyn Savio.
My tapestry design evolved out of one of the projects proposed by the Tapestry Weavers Victoria group in about 2018, called 'Transformation'. As I was attending a U3A drawing/painting class at the time, I thought I would utilise one of my still life paintings and 'transform' it by turning the image 45 degrees and positioning it at the back of the original image , so all the elements can be seen. The rear image was then painted in lighter colours to differentiate it from the original. Further changes were made to the design in the weaving process., resulting in 'Tapestry x 2'. Materials; Cotton, wool/mixed yarn.
The Aqueduct Trail at Warburton. Mary McArdle.
I have always enjoyed putting texture into my tapestries but have found that they make my work less predictable and more difficult to weave. I have played around with different techniques with varying degrees of success. Samples are the 'Acorn Shoot' and 'the walk along the aqueduct'. Materials; Warp 10 cotton, Weft ATW wool.
Ema Shin taught a workshop earlier this year, focussing on using texture in tapestry. I really enjoyed the class. We worked on a much larger warp than I was used to but it was fun! The sample for this is the shaped tapestry 'Texture Sampler'. Materials; wool, synthetic yarn, DMC cotton.
Finger Labyrinth. Mary McArdle.
The 'Finger Labyrinth' was going to be more obviously textured but I ended up using a finer warp [Seine twine 6] and so the texture is more subtle. I am happy with how it has turned out, making the grass and bushes in the labyrinth grow into the meditation space. Materials; ATW wool, silk.
La Grande Menace and Memories of Franz Josef. Pat Scholz.
These four small tapestries provide some insight into the diverse range of things which inspire me to weave- colour, design, landscape, history and politics. I love the fact that a source of inspiration can often be so unpredictable and yet so rewarding in the weaving of it. Materials; Cotton and wool.
After Harold Cohen.
My tapestries are like a visual diary, which I hope help people appreciate our nature and beautiful things in life. Materials; Cotton and wool.
Melons for sale.
Dandenong is the warp. Heather Smith.
I love exploring the translation of images, real or abstract, into colour. Materials; Cotton, Melway map paper.
Interpretation; Lake Bennet NT. Heather Smith.
Materials; Cotton, wool.
Interpretation: Cresside's print.
Materials: Cotton, wool, embroidery cotton.
Four jugs. Joy Smith.
During the last couple of years, I wove a series of still life objects, some from the NGV collection and some from around my home. It was a very calming project, quietly concentrating on weaving simple shapes. Materials: Cotton, linen and wool.