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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weaving secret messages

i'm not sure if i've mentioned this here, but husband is the kind of guy who is utterly unafraid to rethink things. so after we added the new roof a few years ago, he decided to move the stairs to get to the second floor from where he had originally thought they would be. this involved building a couple of extra meters onto the back of the house. as one does. but it being a rather large undertaking and him being a one-man show, he has discovered that they don't match up 100% as accurately as he would have liked. he thinks this can be hidden by covering that portion of the ceiling with a really cool weaving. 

as one has the weaving bug, i am on board with this, so i am very deep in planning what said weaving should look like. it's not a tiny undertaking, as it's 166cm wide and about 6 meters long. times two. so needless to say, i am looking for inspiration, as i'm still a baby weaver. i know that my loom can handle whatever i throw its way, as it's much more experienced and wise than i am. 

i have this idea that whatever i weave, needs to contain a secret, meaningful message. and since i've been spending a lot of time in the studio, working on a podcast for work, it hit me that it would be possible to weave sound waves. they would look like a cool pattern and if you knew what it represented, it would also contain a message. since that occurred to me, i can't shake the idea. i recorded a meaningful message in the studio the other day and took a photo of the sound wave. i think it has potential.

i ordered up a bunch of weaving books from the library. this one about danish weaver bodil bødtker-næss had some very interesting inspiration in it. it was all i could do not to write and underline everywhere in the book, but i did restrain. i've definitely got to order this one so that i can write in my own copy.

and fold down a bunch of pages, like this one. she wove panels to divide a big open office space for danske bank back in the 70s. they don't look entirely unlike sound waves, eh?

this one could also have a sound wave vibe.

and this one definitely does. i don't think i will directly copy any of these, but they do give me some ideas for how i could approach this. combined with the idea of mounting a weaving on a wooden frame, which i saw at hanne vedel's workshop, i think an idea is forming. but i've yet to settle on a color scheme. i'm doing a few watercolor sketches to try to work out some ideas. i think husband will even build a tiny miniature version of the frames we might want to mount the weavings on, so we can create a paper version. 

i made a test sheet with all of my potential colors. i got some cool gansai tambi japanese watercolors to play with. 

the planning is half the fun. but husband is impatient for me to get started. i'm not even sure yet what kind of yarn to use - linen? wool? cotton? it's quite the adventure.

🧶 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?

 

stitching together a lovely, messy, chaotic life

nearly a month after my disappointment at not getting hold of a kit that would enable me to participate in the dataspejlet community art project at trapholt museum, i was at a friend's house for a board meeting. i saw that she had a kit and i told her how sad i was that i missed out on getting one. i snapped a picture of it there on her side table, but that sense of sadness and being on the outside of something i wanted to be part of welled up in me again and i found it almost too painful to look at. i even thought the colors she had gotten were great and would have been so much fun to work with. she told me that her neighbor also had one and she would ask her if she was going to use it. i went away a little bit hopeful, but still mostly resigned to not getting one.

then, a week or so later, my friend sent me a message, telling me she'd left me something up in our creative group's workshop at the library. i crossed my fingers that i knew what it was and i was delighted to find that she gave me her own kit. i breathed a sign of relief. 

oddly, i didn't start stitching on it right away. i got out my data files and chose the words i wanted to work with and i drew a sketch on some graph paper that husband had lying around on his desk. and then, i went around pondering it in the back of my head for a couple of weeks. i'm one who always works best close to a looming deadline. and i wasn't doing nothing - i was pinning stitch inspiration on pinterest and thinking about how i wanted to express the words i'd chosen. i was also keeping an eye on the #dataspejlet hashtag on instagram, but not a lot of posts were being shared and i didn't want to have to open the dreaded facebook to go see what people were posting in the group. plus, i figured it was best to do it my way anyway, without too much inspiration/influence from others.

but during our long weekend, i finally got stitching. it was beautiful out in the garden, on the pillow-covered bench between the greenhouses. i started with the circle representing husband. it has a circle within it that represents sabin. 

i chose the golden mustard color for husband and pink for sabin - my colors were those, plus purple. i probably would have chosen other colors if i were choosing myself, but these were what i had to work with and i do like them. i decided to  completely fill those two circles with stitches, because they represent the two people who complete me. 

the next circles that i worked on were the overlapping ones representing time/reality and cats - funny that those overlapped, but i think the time/reality comes from posts i did about reading murakami and of course, cats figure heavily on my facebook page. i chose to leave more "air" in those circles, not filling them out completely with stitches and there, where they overlapped, i used both colors, plus i added the third color, to show that the interesting part is where my preoccupations overlap. 

and then i turned to the similarly overlapping circles representing ships and LEGO. i filled those out with little + signs (i should note that we were only allowed to use stitches that go horizonal or vertical, no side-ways or curves or french knots or fancy stuff). and i stitched three hearts in the space where they overlapped, to signify how much i do love both. they are both from my work life, but both have become something of who i am.

i really enjoyed sitting in the sunshine, stitching. when i needed a break, i'd get up and pull a few weeds or water the plants or plant a few seeds. and i picked myself a small bouquet of fragrant lilacs, my favorite flower, to have at hand while i stitched. i sat in the sun with my big sun hat on and enjoyed the meditative stitching, seeing where it would take me and what thoughts it would provoke.

i didn't get it all finished on the weekend, so monday after work, i started my second to last circle. this is the one where i chose a group of words from the data, as they all seemed related and harmonious together. they were: story, fabulous, beautiful, sunshine, awesome. and reality was in that circle as well. i think it's my favorite circle - the three colors complementing one another best. it was also one i stitched most intuitively, letting the colors tell me where they wanted to be and how many stitches and the length. it simply felt freer than the others, which felt careful and deliberate. i liked this one best.

it was getting a bit dark by the time i finished, but i took a picture anyway. i'm pleased with the result. and then on tuesday, i had only one circle left to do. the bad one. 

we were given white thread to use for stitching those bits that we wished weren't there or which we didn't want anyone to see. for me, that circle came down in the left lower quadrant, far from the other circles, which was good, as i hate to have this word touching any of the positive words. and the word for that circle was trump. i used couching, i think wanting to keep that embarrassing evil clown under control, limiting him and tying him down. that stitch came to me naturally and intuitively as well. funny how those last two circles were the most intuitive, like i had to have warmed up to the stitching before i could let myself go.

and i thought a lot about stitching outside the circles and i can see now that others have done so - stitching connections between them and such. and i thought i wanted to do that as well. but as i began - trying to make a joyful spray of stitches surround my favorite circle at the top - they came out awkward and not at all how i envisioned them, so i picked them up. i think it would have worked if i could have used french knots, but alas, they weren't allowed. so, i decided i was content to only show what the data showed and keep the rest of my lovely, chaotic, messy, awesome life for myself.

i'm so happy i got to participate after all and i'm very grateful to my friend for giving me her kit. it meant a lot and the meditative stitching time was just what i needed during a very busy time at work. i can't wait to see how my work will fit into the larger work that astrid skibsted puts together at trapholt this autumn.  it will inevitably be a dialogue with the many other embroiderers and the whole will be so much greater than the individual parts and yet they will be beautiful and unique on their own. and i'll bet it will be harmonious and lovely, messy and chaotic, just like all the lives that went into the data that went into all those stitches. and we will all belong exactly where we are in the work. 

dyeing for some creativity

on the last night of my vacation, i went to a shibori/tie-dye dyeing session with my local creative group. i took some odds and ends of cloth. most of it from the fabric we used at sabin's confirmation in 2014, which was a bit stained by food and wine. now you can't see any of those stains. the piece on the left was a remnant of white linen. i put it in the second round of the dye bath, so it came out lighter, but still cool.

i played with shibori techniques - folding in triangles and using cardboard and plastic as resists, as well as putting a ton of small rubber bands on one piece. i wish it was indigo, but it was navy blue batik dye. i really love how it turned out. i brought them home and washed them. the smaller piece is one of the fabric bags my sister made for wrapping everyone's christmas presents a couple of years ago. 

i've been saving husband's old shirts to make a quilt for some years now and i think they would look great with these bits and pieces, since most of them are shades of blue. and i already pinned about 50 inspiration pins for the next time we have a dye evening. i think it would be great to work with some natural dyes the next time, rather than commercial batik dyes. 

these are a couple more of the linen bags my sister made. i used the second round of some red dye that the others had used - i really love this salmon color that came out of the pot. this is giving me so many ideas, i definitely want to do some more. and the next time we do an indigo pot down at the museum, i'll definitely be taking some cloth along. i feel like being on vacation opened up my creativity again. now, to try to hold onto it and keep it going. 

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. 

history is a matter of perspective

the angle taken by a museum is very often through the lens of where it's located. we went to the maritime museum in barcelona yesterday. since i'm currently writing about the long voyage from amsterdam to the cape in 1723, i'm very keen on learning i can about what ships and life on ships were like back then. i didn't exactly learn that at the maritime museum in barcelona.

it was a beautiful building, almost danish in its skillful combination of old and new architecture. the main feature was a 60-meter long replica of a galley, an oared warship, made to fight the ottomans in the mediterannean in the 1500s. those oarsmen were slaves and did not have a good life. the captain, however, did, with fine inlaid wood floors and art up in the quarters on the stern, from which he dictated the battle. it was elaborately decorated with both painting and carved reliefs. there was a medusa's head on the back, to strike terror in all who approached from the back. the figurehead was a beautiful carved neptune, riding a fish and covered in gold leaf, showing undoubted dominion over the sea.

it was a confusing exhibition, and hard to find the way through to see all of the exhibits. we finally did, but not in the right order of things and it did get a bit hazy as they leaped from those mediterranean incursions to trade with the americas. because they were focused on ships built in barcelona and the catalonian sailor in general, they skimmed over that whole thing with the spaniard columbus and his role in accidentally discovering the new world when he tried to find a new passage to india, undoubtedly because the spaniards couldn't keep up with the portugese and dutch on their well-established routes around the cape to the far east. (phew, that was a long sentence.)

there were displays about the trade with the new world and the goods that went back and forth - sugar, cotton, tobacco and yes, they even mentioned the slave trade. i think they handled it well. you stepped into a little room, where the walls were covered with official documents regarding the slave trade, and a whispered voice said that it was an ugly bit of history that no one really wished to talk about, but it needed to be done, and it was a dark time for humanity. those plantations in the american south could do with a bit of inspiration there.

and it all had me thinking, once again, about how history and how the story is told, is a matter of who is telling the story. maybe i need to head to amsterdam to hear their perspective, they must have a maritime museum there.