Connections — maybe it's all about the yarn

This post will be a departure for me - in that it has capital letters. I wrote it first over on Substack, but decided I wanted to have it here, where I keep such writing. And I don't have time to undo all the capital letters. Maybe now we'll have a mix here on MPC, or maybe it's the start of something new. 

So much going on at the moment. Lots of separate projects coming together. And I’m starting to see how they all fit. And even though there have been moments when none of it seemed like it was headed that way, they DO all fit. The work ones, I knew would eventually fit. It’s the way that the more personal projects are coming together, or blending into the work that is more of a pleasant surprise. It makes me realize that my life is more holistic than I thought. What a revelation. 

And weirdly (or not), it all comes down to yarn.

Our local creative group, CreaGive, chose Fifty-fifty as the theme for our yearly exhibition. The only requirement is that the work you bring must measure 50cm x 50cm. It can also be 50cm x 50cm x 50cm, or a cube. I spent a lot of time thinking of ways to break the rules while still technically not breaking the rules. (Hello, that’s who I am.) But I’ve ended up making a cube that does indeed measure 50x50x50. (Probably also, admittedly, who I am.) 

I received some wool yarn, left over from industrial carpet production, from a weaver in town who is moving and so she wanted to give away all her weaving supplies (lucky me!). So it was natural to use that. We still have some of the sticks from Syrian artist Nisrine Boukhari’s The Wind’s Home, an ephemeral work that she created near Vejle Fjord in connection with a project for Trapholt Museum, back in 2017. They became the base of the cube.

And speaking of Trapholt, I was part of Astrid Skibsted’s Dataspejlet art project at Trapholt back in 2022. I both embroidered my data (from Facebook, of all places) and wove a section of the weaving done by my weaving group in Randbøldal. It’s when I learned about Astrid’s vikleprøver. And my cube is basically a giant vikleprøve (yarn winding).

So, you might say the cube I’m creating for the Fifty-fifty exhibition has been many years in the making. We are constantly taking in inspiration — through conversations, our eyes, our ears, the things we listen to. And I genuinely think we never know exactly how they will manifest when they become something. But our brains are working on it all in the background and all these impulses ARE becoming something. It’s just a matter of letting it come out.

I don’t really know what it is yet - is it a stool? or a table? a sculpture of sorts? But I will figure that out. Ideally, with enough time (and yarn), I will fully fill it out on all six sides. But for the exhibition, time (and work and other projects) allows only one side of it. But perhaps like life, it takes time to develop into something fully formed and filled out on all sides, connected and whole. I’m loving it as it is right now, but I also can’t wait to see where it’s headed.

I’m also working on a tea towel project. Taking a little break from my self-imposed assignment of weaving Taylor Swift’s albums as tea towels to do some for work. We have this cool drawer-insert contraption that helps you organize your kitchen drawers, but we don’t have proper photos of it. It will perfectly fit 15 tea towels and so I’m working on those. I created a warp that’s mostly white with black edges and stripes and one colorful stripe. I’m going to make it my own by weaving in with colors to make a rainbow of sorts.

I’m also going to change out the red stripe in the warp along the way. That sounds like a crazy idea, but I want to do something challenging and new in every set of tea towels I make. I need to LEARN something here! But really, who changes the warp along the way? And I intend to change it FOUR times!

Turns out I do! And it has worked! I’m happy there’s a four day weekend ahead so I can make lots of headway. I’ve woven the whole first towel since the change from red to orangey-yellow. Two to go before we change it again. I’m so happy to have Emmy, my personal weaving teacher and previous owner of my loom to help me with all of her wisdom and knowledge.

My loom, which is also much more experienced than I am, is also my friend in this project. Sitting at it, weaving these tea towels, the latest in a long line of creative, strong women to sit there, is such a privilege. The threads I’m working with, connecting me to them with every pass of the shuttle. The connections we weave to make up our lives take my breath away. Maybe it really does all come down to yarn.

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danish weaver hanne vedel

the amazing danish weaver hanne vedel, who is 94 and still weaving, held an open house during the autumn holiday last week. we went to visit her. she was taught to weave by cis fink, one of the classic old danish weaving teachers who originally owned my loom. this photo above is of hanne vedel on the left and emmy, my personal weaving teacher and the one who gave me my loom, which once belonged to cis fink. i feel so privileged to have met hanne vedel and even more privileged to own a loom with such history. 

hanne vedel is one of the most prolific and famous danish weavers of the 20th century. this is a bolt of cloth that she wove for the curtains for the upgrade of the trustee council chamber (also known here in denmark as the finn juhl chamber) at the UN building in new york. so simple, but so beautiful. 

we spent nearly two hours at her studio, just looking at everything and being inspired. this wall hanging gave me an idea for some weavings that i want to do for our home (more about that in another post soon).

i need to weave some long panels for a steeply vaulted wall above our stairs and i've been pondering how we could fix them to the wall so that they don't sag. this might be a way to approach it. 

this work looked different, depending on the angle you stood in relation to it. i'm not sure my project will be able to do that because you can never get up high enough to look at it from the one angle, but it was inspiring nonetheless.

i sent husband past her studio on the monday after our visit, so that he could look at the frame this piece was mounted on. now i just have to figure out my version. 

hanne vedel is still actively weaving. she had projects set up on two looms. this one, involving horse hair, was also super inspiring. i have so many ideas now and not enough time or enough looms to execute them all!

now i just need to find someone with a horse that wants to trim its mane or tail. 

look how lovely that it is! simple but beautiful.

hanne vedel had run spinderigaard, a spinnery, for many years and so i scored some lovely wool and silk cones. it's enough to make a lovely scarf or something. i love those greenish speckles. i got some with black speckles as well. 

 

tea towels inspired by the eras tour

i was chatting with my sister and my swiftie friend on our group chat and we decided that my next weaving project should be tea towels inspired by the eras tour. so i ordered up a bunch of new weaving yarn in new colors. it arrived right before i went to the states. last weekend, i got started on seeing how the colors i ordered play together.

i made vikleprøver/yarn windings to play with the colors. i think i'll start with lover, which is the one at the top. followed by 1989, which is the one at the bottom. i need to adjust the colors for midnights (on the right), as the brown doesn't work and it needs some burgundy. the one on the left is reputation. that one, i want to play with a more graphic look. 

we're going to make the warp for lover this weekend. i'm even going to put that sparkly yarn in there, together with the purple, so that there's a little sparkle to them, even though that's not necessarily traditional in a tea towel.

the planning is actually becoming part of the fun for me! that's not normally my core competence, nor something i like all that much. i'm learning how to achieve the look i'm going for. and even learning what i like and what i don't. i think it's going to be a fun exercise. and with all those eras, it should keep the loom occupied for a few months to come.

 

🧶 yarn candy 🧶

i had a couple of days in minneapolis at the beginning of my trip, so i made it my mission to visit yarn stores. funnily enough, they had a lot of the same yarns and patterns that we have here in denmark. the danish knitwear designers and yarn companies are clearly hot all over the world. i knew that from knittok, but it was fun to see it in reality. this store, bewoolen, had a lot of hand-dyed yarns that weren't scandi, but they were very pricey and i didn't see anything that i couldn't live without. 

i do just enjoy seeing lots and lots of beautiful of hanks of yarn though. i don't think i'm experienced enough to be able to see the potential in them and think that they would be perfect for one or another sweater that i have in my ravelry queue. i'm not honestly sure that i'd really like hand-dyed for sweaters. i think the variegation can yield weird results. but maybe one day, i'll just see the perfect hank and have to have it.

i did get this cute little bundle of minis, though. the color combo just appealed to me and wasn't one i'd have thought of on my own. that's the best part of visiting a yarn store - getting inspired. i don't know what i'll make with it - i was thinking of using it in some colorwork socks, perhaps. they also told me it would make a nice winter hat.

i'd been seeing lots of talk about japanese noro yarns on knittok, so it was fun to see some of them in person. i got these two to make another sophie hood, so it's not entirely true that i'm not inspired by variegated yarns. i also got myself some of the famed chaiogoo needles - just 3 pairs in the sizes i seem to be using most. i don't feel worthy of the full $200 set of interchangeables as of yet on my knitting journey. 

i went back to the store a second time with my sister (she knitted that sweater she's wearing, by the way, and even made up the pattern herself!). we didn't end up buying anything the second time around, but it was our last stop that day and we were getting a little bit hangry by the time we were there. sometimes there can be so many choices that you end up not choosing at all. 

i got some beautiful yarn to make a bella blocking sweater at another yarn shop - dandelion fiber co. here, they had some of the danish knitwear designers and knitting for olive and other scandi fibers, but they also had yarns from some american manufacturers. the yarn i bought was from tumalo fibers in oregon. 

i got enough yarn to make the bella blocking and with two skeins of lucky tweed by kelbourne woolens, another american yarn maker, i can also make the vest no. 1 by my favourite things in the same pretty mustard yellow tone.

one more basket of inspiration - someone at bewoolen has an eye for this color combo, it's very similiar to the small hanks above. i had to snap a photo to remember it for future projects. 

color inspiration

i'm setting up a warp with colors inspired by these colors of kindness crayons as the first thing i will weave on the new loom. i want to not only get to know it, but also experiment with color and how it works together. plus, everyone is clearly getting tea towels for christmas!

if you need me, i'll be playing with these and planning the color scheme this weekend. 
 

photobook inspiration

yes, i turned this picture upside down to make it easier to read.

on the berlin visit, i saw the most inspiring photobooks! i noticed them on the shelf and saw the interesting stitched spines and asked about them. then we passed a couple of lovely hours, looking through them. they were so inspiring! and the photos were incredible - not your average family vacation photos, but more like a hardbound national geographic. just lovely!

and even more inspiring were the photobooks they made of a trip to morocco - five of them, each grouped by color - red, white, blue, green and ochre. just exquisite and so inspiring! i have hundreds of photos and while they're largely not the artworks that anna's photos were, it was such a great way to preserve them, rather than just paging through them on my phone or searching my computer for the right one. definitely got to make some for us. anybody know a good photobook manufacturer?

 

documentation of a creative education

i visited a friend this afternoon. she's a lovely woman in her 70s who taught textiles and all sorts of handiwork at a danish højskole for many years. she's the one who finds all kinds of looms and spinning wheels and such for me because she works at the local red cross secondhand store. she also has friends who have such things and they have reached an age where they want to get rid of them. 

we hadn't seen one another in a very long time thanks to corona, but we decided to have coffee and the season's first rhubarb cake today. it's the big prayer day and so i had a much-needed day off. i love her home - it's so inviting and everywhere, there's something quirky, interesting and most likely handmade. even the old dried up oranges in a little wood bowl next to some dried out mushrooms in the kitchen windowsill are beautiful. it's how i want my home to be. something interesting at every turn. 

she mentioned the other day that she had all of her old projects from when she went to textile design school back in the late 60s. and she wondered if maybe we in creagive, our local creative group, would want to use it to do collage or something. so she took me upstairs and she got out all these big folios from where they were stored. we sat down on the floor, opened them all up and went through them together. 

as we flipped through pages and pages of different pattern designs and fabric prints and sketches of things to weave, she told me stories. of teachers, of materials, of travels, of sources of inspiration, of the way that colors or patterns had fascinated her. i am kicking myself for not recording her stories. 

she insisted that i take all this treasure home with me - 5 big folios and several notebooks. i feel so inspired by it and i will take some of it along on our creagive trip to højer in the autumn. emmy might even come along as well and she can tell us stories. 

but i intend to go through it all carefully and photograph some of it and perhaps even work with some of it. there's a whole binder of different printed fabric samples that would make an amazing quilt. and there are some beautiful machine-stitched patterns that deserve to be framed (it's those in the photos on this post). 

husband looked through some of it with me after dinner and he was just as in awe of it as i am. she worked so thoroughly with various patterns, exploring colors and all the options. i wonder if any education today does this so thoroughly as they did back then. 

she started her education at what would later become kolding design school in 1967, the year that i was born. and all of the things she worked with seem so timeless and fresh, even today. i can't believe she didn't go on to work for merimekko or some other scandinavian design firm. even just the samples are just beautiful. 

i kept asking her if she was sure she wanted to be rid of it and sure that her family wouldn't want it. she assured me they wouldn't and that she was ready to let it go. i feel so privileged that she wanted me to have this. i feel entrusted with something special and amazing. it's the tracing of a person's creative development and a huge insight into a creative mind, as well as a glimpse of an education and a time that is surely gone. i can't imagine anyone going to such depths today. it feels like everyone wants to take shortcuts and rush as quickly to something commercial as can be.

and it was also clear in some of the assignments (because she kept those too), that they were being asked to think in a commercial way as well. one assignment was to create a fabric pattern that would work equally well for women or men. 

my friend wants our creative group to use all of this as materials for collage and some of it can definitely be that, but i think quite a lot of is far too good for that. i already feel inspired by the way she worked with patterns and techniques. for example, these sewing machine embroidered pieces can be found in sketch form and then a more complete drawing that was framed by passe partout and then in its final form, stitched with the sewing machine on fabric, also in a passe partout frame. 

so much of the work is signed and dated and we will definitely be framing some of the pieces. husband thinks we should go through it all, decide what we'd like to keep and then pay her for it. i fear she will refuse, but i think we should insist. i may have to invite her over tomorrow or sunday to go through it all again and to tell me more stories about it, which this time, i will record. it would be so cool to do some work inspired by her work and then create an exhibition - a kind of dialogue across 50 years. 

finding surprises in your own neighborhood

a most amazing experience today. one which proves that you can still discover something which will inspire you and make you think, within 20 minutes of your home, after a decade of living here. christina saw a program on DR this week, with gardener søren rye, who visited a place called skovsnogen, out near kibæk, where a guy has put up all sorts of art in the forest around his home over some years and it's open to the public to wander through, for only the price of a free-will offering. there is a huge variety of art, from things that look like maybe stalin ordered them, to the namesake skovsnogen, which is a winding wooden snake that's painted bright yellow and which you can crawl around inside, to a brick wall that spells out HATE and which was built in 2011, before trump made a wall of hate his trademark. it was so powerful to come upon this in the forest, to able to climb on it and walk through it.

another powerful work was what i would call the ildsjæl - a golden woman's head, where her hair was sticking upright, like a flame, atop a stylized fire pyramid. She had a peaceful, beatific look on her face, her eyes closed, not the least disturbed by her position the pyre. there was a bench where you could sit and look at her. The more you looked, the more you were affected by her peacefulness with her situation. There was something of the buddha over her, with that zen attitude over what was arguably her plight. but perhaps there was a message in it that it wasn't a plight at all, but freedom and a relief. some small boys came and exclaimed to their parents, "look, mom, it's a fire person - ildmenneske." that's exactly what she was. as we walked away to leave the experience to them, i remarked the she was an ildsjæl, and gave myself goosebumps.

i had moments where i wished we had the place to ourselves. there were many cars there, thanks to an appearance this week on DR, but once you were out, walking the trails, there was decent space between people. though at times, i wished we had more time there for ourselves. and i definitely wished that some of the whining kids that were there weren't there, which made me feel a little old and crabby. but, it was because it was such a striking, intense experience, and i wanted to savor it and that was difficult when there were people crowding up from behind.

there was a huge gong out the trees in one spot. we were recording it, and experiencing the reverberations, and a family came up behind us, chattering away. we definitely wished we'd had it to ourselves.

there were two uncanny figures which were in the vein of our exhibition last year. they were so striking the forest, and only slightly spoiled by an older couple with politiken glasses on, saying, "er det her virkelig kunst," (probably in more correct grammar than that) in a very snotty way. we felt a bit sorry for them with their snobbish view of the world, unable to give themselves over to the experience, needing to hold on to judgements in the face of a world that's changing and where those judgements may be falling away and the world becoming something else.

it will be interesting to see what kind of art arises out there, after corona. maybe christina and i should try to make some, as a reaction to this experience we are in. what would it look like? it would surely be uncanny in some sense. and surprising and unexpected. and it might be frightening and anxiety-causing, but it might also be a relief and somehow freeing.

it's so hard to know the affect this whole experience is going to have, when we are right in the middle of it. but to figure it out through art and in harmony with another artist or artists, and the landscape, could be the very best way to process it - in words and paint and things which hang from the trees.

one thing that was so interesting was that there weren't any artist names or names of the works anywhere visible in the forest, you had to just experience the works for yourself, figuring out what they said to you and only you, through your direct experience of them and the feelings that they gave to you, or the echoes they sounded of your lived experience - like a little hut up on stilts that made me think of Baba Yaga and which made Christina think about whether the hut or the nature around it came first. a thought-provoking experience for both of us, but a very different experience for each of us as well.

it also seemed like a place where you'd want to go on an artist's retreat. to sit in the brutalist shelter, light a fire and settle down to some writing. or to wander among the trees, capturing the sounds of the birds and wind and the leaves. or whether you'd want to record yourself reciting a poem you'd written, or a favorite poem in the amazing acoustics of the metal ball that's all alone, unexpectedly, in the middle of a field.

it definitely won't be my last visit.

on tricking myself into writing and finally reading ulysses

a big thank you to judith for turning me on to 750words. it's a site with a lovely blank canvas (weirdly less intimidating than an open, fresh word doc), where you attempt to write 750 words per day. i tried it out for the first time this morning and got to 557 words before it told me the day was over and i would have to start a new day. this, at 9 a.m. my time. turned out my time zone was set to pacific time in california, so i cheated and pasted my 557 words (which i had written in 10 minutes) into the new day (after all, it had been friday for me all along) and continued. my stats will be a little off, since pasting it in takes a bit less time than it did to write the words in the first place, but oh well. i found it surprising how quickly i got to 750 words. maybe this writing thing isn't so hard after all?  it was just a bunch of drivel, recounting my day yesterday, so there's that, but nonetheless, it was a start.

i'm finding that reading and writing go hand in hand. i knew this, but i think what with obsessively reading the news on my iphone since mid-2016, i'd gotten out of the habit of reading books. i've been fixing that thus far in 2020 and i've already read four books. i'm currently reading hemingway's moveable feast, which contains a lot of advice about writing. i've also joined a book club through the library. we will read just one book - james joyce's ulysses. i took a semester-long course focused on just that book and wrote a 25-page paper on it without finishing the damn thing, so i decided that now is the time. it's one of those you probably should read. but already i can feel myself thinking i have to read a bunch of other stuff first - like i really should refresh homer's odyssey before i begin. and maybe dante's inferno too. and that would lead to goethe's faust, wouldn't it? where will it end?

just get reading already.

zen koan inspiration

the friend i stayed with in arizona had a small collection of amazing little zen koan 'zines from the 70s. they were done by paul reps. on the front, it says you can send away for a bag with all six for $3. they were so amazing, i had to photograph them.  i had vaguely heard of zen koans, but never worked with them, what with my inability to meditate properly and all. i can see the attraction - an enigmatic phrase to ponder in silence, what could be better?  i have a couple that have always stuck with me, though they are not official buddhist zen koans, i think they have a koanesque quality. one is a quote from the hitchhiker's guide to the galaxy: "reality is frequently inaccurate." and from my favorite 20th century russian author, andrei bitov, "unreality is a condition of life." funny, i think they're related. maybe when i try the 15 minutes of meditation tomorrow morning (for the sake of my brain), i'll ponder those. i also feel inspired by paul reps' art, to dig out a typewriter, work with them and a little bit of payne's grey. do you have a personal zen koan (maybe you didn't even know it was one) you ponder when you have a moment of stillness?