Known for her passion in using weave structure and diverse techniques to create highly textured surface relief and three-dimensional weaving, Stacey has recently taken this a step further by creating large woven installations of nature-inspired artwork. She uses the underlying principles of geology and natural growth combined with a diverse collection of regular and more unusual yarns both in weaving and finishing to experiment widely (after all, she is a self-confessed sample queen!) in order to push her work into new avenues of exploration, leading not only to unusual woven artwork, but also to varied teaching areas and approaches.
Paper for Weaving
Paper as a weaving yarn has been in existence for many centuries, and was a common feature in beautiful work from Eastern courts in times past. Today, it is seen as an unusual choice of yarn for weaving, but the power of paper is as varied as the different methods of preparation, spinning, and weaving structures allow. Using papers from Japan and Europe in both warp and weft, this seminar shows the versatility and some of the multiple effects obtained from using different papers and weaves.
Dimensional Weaving for 4 to 8 Shafts
523 Monday AM
Following previous presentations on multishaft (more than 8 shafts) dimensional and textural weaving, this seminar focuses on four to eight shafts for creating dimensional fabric using shibori, overshot, and stitched double cloth techniques. Using familiar threading configurations, unusual yarn combinations, varied liftplans, and different finishing techniques, many different textures can be utilised—both practical and artistic. Yarns, including ‘active’ and ‘passive’, thermo-plastic, and exotic yarns such as paper, metals, and monofilament, as well as standard yarns such as wool and cotton, are used to create a range of samples available to the majority of weavers.