BOTANICAL WEAVING

Way back in the 50's and 60's, weaving with weeds and sticks was very popular. Of course, I had to give it a try. Below is the weed weaving I created in 1961 while I was a student at Rhode Island School of Design. I had someone help construct a real frame loom, and then I used phragmites (those fluffy top reeds that grow in profusion on the East Coast) . I gave this piece to my mother, who kept in hanging in her apartment. Imagine my amazement when I discovered how wonderful the hanging looked 52 years later.

The hanging looks good hanging either horizontal or vertical and the dimensions are 25"x 48"



 I thought I would create some small botanical weavings for the holidays---using dried grasses and flowers mostly from The Garden of One Thousand Buddhas. I am using jute for my  6" wide warp  with dried lavender, lily pods, willow, and I'm not sure what other things are called.

          I just love all the subtle color changes. It is refreshing after all the color I usually work with.
                               
                                        

 Below is catmint and mullen combined with willow and ornamental grasses.
 

These little beauties are so much and easy to make that they make good projects to teach beginners as well as making charming gifts. The assortment below can be seen (and purchased) at Meadowsweet Herbs in Missoula, Montana

The other interesting aspect of Botanical Weaving is that gardeners can supply their own material from their gardens as a way to remember some of their special plants. Some plants can be woven in bloom and then dried in the weaving. (so you watch the weaving change over time). Those brown balls are the seed heads of bee-balm, one of my favorites. And there is no rule that says you can't combine a little leftover ikat yarn in the weft.

SILK BROOCHES

 From my large stash of ikat dyed silk yarn (some dating back to the early 80's when I first started making the brooches), I meticulously wrap and wrap and wrap. It takes me approximately 20 minutes to wrap each individual unit.  I use archival black core matte board and have my framer cut the board into an assortment of small shapes.

 
Once the wrapping is complete, I assemble the piece by gluing to a matte board backing and attaching a pin back.

 I can't tell you how much pleasure I get from creating these miniature works of art. The fact that I continue to produce a limited number of extremely labor-intense pieces (at an affordable price), speaks of a labor of love.