While combating the twisted heddles yesterday, (finished 12 shafts and found six places to correct; have the worst four shafts to go), I kept trying to remember the one instance I was attracted to warp painting. This morning, I was having a look-see in Kaz's Curious Weaver looking for that photo. There I found her (and others) musing on beginners designing projects vs using kit sets. This caught my attention because I consider myself honestly and squarely a beginner, and wondered who qualify as "beginners".
On Monday I was discussing with Rosie the Art Historian the different design approaches by weavers I know personally, and I thought I saw a pattern so I said something like "perhaps that's the difference between veterans, and beginners like me." She responded with her elegant, English dismissal, laughing, "But you've been doing this a long time." And I was seriously taken aback because I never had anyone refute my beginner status, and that unsettled me big time.
But that was Monday, and by Tuesday I was back to my happy beginner self again. It's like the universe, see.
Considering the amount of stuff you need to know in order to know everything there is to know about weaving, whether I start counting from the first day I passed my stick shuttle though the shed in my rigid heddle, August 1995, and ignore the years I didn't even touch a loom, or the day I was asked to resign from a lawyer's office because I wasn't suited to office work and decided weaving was the only thing I had left, in August 2004, the time I've spent obsessing about weaving has been but a fraction of the time I need to feel comfortable with the craft to think I know something about it. I still find great comfort in being a beginner.
I can't remember where I was going with this stuff, but I haven't even done my Morning Pages this morning, so I'm waffling. But it's been an important issue for me. And the warp paint that got me curious wasn't warp paint at all; I think the it's woven shibori. Live and learn.
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Rosie has just been to a William Morris exhibition in Christchurch, where the entire (?) exhibition was created from the collection of one family who catalog-ordered everything to decorate their house in Adelaide, Australia! The collection now belongs to the Art Gallery of South Australia. We mused on Morris's dislike of mass-production vs his entrepreneurial ventures; Williams, McIntosh and Larsson; and Arts and Crafts/Art Nouveau/Bauhaus, among other things. I'm hoping seeing Rosie is going to be a regular thing.