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CULTURE | TEXTILES
Weaving traditions: old and new
Take a textile room at the American Museum & Gardens with a collection of Navajo and New Mexican weavings. Take a modern practitioner who says that weaving teaches her to be still. Gianna Scavo investigates this slow art of ebb and flow
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ost of our lives we live closed up in ourselves, with a longing not to be alone, to include others in that life that is invisible and intangible. To make it visible and tangible, we need light and material, any material. And any material can take on the burden of what had been brewing in our consciousness or subconsciousness, in our awareness or in our dreams.” These are the words of Anni Albers, the German-born textile artist who was one of the first figures to blur the lines between the traditional weaving craft, and a striking modern art practice. There’s something about textile art that feels uniquely human. While the paintbrush strokes on a canvas may elude us, materials, especially our clothing and blankets, have a distinctly familiar air about them. They protect us, comfort us, keep us sheltered and warm, and through pattern and colour, allow us to express ourselves. How often have we taken a step back from objects so familiar as these, and learned to view them as art objects? The craftsmanship, intentionality and careful techniques behind the ancient weaving tradition can teach us a lesson on the value of slowing down and working with our hands. Navajo and New Mexican weavings The American Museum & Gardens in Bath houses an impressive collection of over 12,000 objects that explore a diverse range of American cultures. On the first floor of the museum, you can view their extensive textile collection, consisting of over 50 quilts and a selection of Navajo and New Mexican weavings. The Navajo are a Native American people who arrived at the American Southwest shortly after the Pueblo people, the first record of their presence being in 1626. Navajo textiles originally had utilitarian purpose and a high trade value, and were used to compose beds, to be worn, and eventually used as rugs. They began weaving on baskets, which had triangular and zig-zagged patterns that translated into their woven blankets and dresses; textiles that were made possible after the Navajo adopted the upright loom of the Pueblo people. Geometric patterns were common due to the nature of the upright loom and often the weaver had no predestined pattern they chose to follow, but relied on memory. They have often borrowed techniques and materials from the Pueblo people, but have had their own distinct influence on their weavings. The weavings of the Navajo people surpass pretty patterns and rich colours, their stories and often painful memories are also woven throughout each piece; stories of exile,
imprisonment and erasure. In 1863, the US military forced the Navajo 400 miles to Bosque Redondo, a journey that killed thousands. When they met their destination, they suffered from a lack of food and clean water which led to disease. It is said that throughout their time at Bosque Redondo, they continued to weave, and traded their creations for resources that helped them to survive. Throughout the ages, Navajo weaving changed greatly due to their exile and the expansion of the Indian craft market, which placed value on their unique styles and artistry as opposed to the influx of cheap, mass-produced machine-made blankets that emerged. One interesting development that occurred as a result of trader demand was a border that was added to the weavings. Textile specialist Sheila Betterson, who has written an extensive overview of the American Museum & Gardens’ Navajo Weaving collection in her Navajo Weaving and Textiles of the American Southwest from the American Museum in Britain points out that, “They introduced a border to the rug to serve as a frame to the design. Very few of the earlier blankets had had a border, the earliest record of a border being in 1873. Instead of allover patterns, isolated geometric motifs began to be placed within a framed format.” One could argue that these weavings didn’t need to have intricate patterns and alluring colours, yet the artisan weavers who created them decided to leave their own creative mark, and they are now highly regarded as objects of artistic value, and are amongst the most highly sought-after textiles today. These frames allow us to direct our eyes to the unique and intricate patterns and shapes, focusing our attention on the craftsmanship, and remind us that useful objects need not be devoid of beauty. Each part of the process, the hand spun yarn, vegetal dyes, and a precise loom preparation implies a careful attention and regard for process and tradition, a tradition that is still being protected today. There is also an exciting contemporary Native North American Indian artist movement which continues to flourish, as these artists continually reinterpret and share their cultural history in fresh and creative ways. Rainmaker Gallery in Bristol, which encourages cultural understanding, appreciation and education on contemporary Native American art, is a destination for those eager to witness the work of these artists right here in the UK. Contemporary weaving practice UK-based contemporary artists are also embracing woven textiles. Christabel Balfour is a London-based artist and tapestry weaver who recently exhibited at Hauser & Wirth Gallery in Bruton, who specialises in rugs and woven wall-hangings. When your eyes meet one of Christabel’s pieces, you’ll immediately be swept up in impeccable, modern compositions and colour stories. Having had the chance to document her intricate process, I witnessed a masterclass in the art of slowing down. Christabel’s studio is a tactile wonderland. From the thread on her loom to the delicately dyed yarns piled on shelves, each element invites a physical interchange – shades of ochre, lilac and sage immediately catch your eye. Her creative process begins with sketching, and lots of it. But no matter how much planning happens ahead of time, weaving is a process of give and take, requiring patience, flexibility and intuition. Christabel believes that it’s important to “respond to what’s
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LEFT: Navajo rug (detail), 185 x 132cm, Crystal Trading Post c. 1890. All wool, closely woven in tapestry weave. Gift of Mr and Mrs Ivan Albright. © American Museum & Gardens RIGHT: Navajo rug, 130 x 79cm, 1880/1890. All wool, Germantown yarn, using an effect known as ‘salt and pepper’ speckling. This type of pattern is known as an ‘eye-dazzler’. Gift of Mr and Mrs Ivan Albright. © American Museum & Gardens 44 TheBATHMagazine
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july 2021
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issue 221
