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Posts Tagged ‘Knitting’

What is it I do?

In the past few months I have been thinking a lot about what I do as a maker. Throughout the coming months, I want to blog a bit more about what my creative practice means to me.

The Visible Mending Programme - Shoulder and Sleeve Detail

Using knitting to mend knitting: a private commission

Thinking about what I do means I have updated my ‘About‘ page, and I’ll use this as a guide to write these blog posts:

Tom is a self-taught textiles practitioner, with an emphasis on creating and repairing knitted objects, working mostly with wool. He is currently based in Brighton, UK. Tom’s craft practice is slow, allowing him to gain a deep understanding of material qualities and the traditional techniques that he uses for making and mending contemporary objects. Through his combined interest in sustainability and the rich textile history around wool in Britain he has started to question when the life of a woollen garment (and by extension any object) starts and ends. By exploring the motivations for repair Tom shifts the emphasis from the new and perfect to the old and imperfect, enabling him  to highlight the relationship between garment and wearer. His interest in using traditional techniques for creating and repairing (woollen) textiles mean that in Tom’s practice creating and mending textiles are in constant conversation with each other.

Self-taught Pocket Repair

A complex pocket repair, learnt from a book on clothes repairs

Many people assume I have a textiles background and studied textiles or fashion at college. As I firmly believe anybody can do what I do, it’s the first thing I wanted to say about myself: I’m a self-taught maker. I originally trained as a radiotherapy radiographer and have worked in a hospital to treat cancer patients. Nowadays I work for one of the companies that make radiotherapy treatment machines. All my making and repairing started out as a hobby and it’s been a very exciting journey so far, and one that is far from finished.

Ever from since I was a kid I have been creative and dabbled in all sorts of things such as drawing, caligraphy, crochet, origami, knitting, and whatnot. And I have always done minor repairs to my clothes, usually with very little thought behind it. Then, about eight or nine years ago I was inspired by a hugely expensive designer scarf to knit my own scarf, as I vaguely remembered knitting as a child. I got myself some needles and yarn and a learn-to-knit-in-ten-easy-steps book.

Cornish knitfrock - learnt from a book

A Cornish knit-frock: made according to the “recipe” in the Cornish Knit-frock book by Mary Wright

And from then on, I discovered the wealth of information contained in books and on the internet. I was encouraged by people around me to explore and try out things and not be afraid to fail; I feel knitting is really very suited to the inquisitive mind. It doesn’t have to cost much, and it’s easy to try something out and if it doesn’t go to your liking, you can simply rip back and try again.

And even if there is nobody around to discuss and learn from face-to-face, there is still so much help to be found around you: regular readers of my blog know I love old needlecraft books, and then, of course, there is the internet. I have learnt a lot from the forums on Ravelry (including, what books might be of interest to me.) It has opened my eyes to what knitting can be, and the potential that each knitter carries within in them.

Mary Walker Phillips Exploration Swatch Wall Hanging

An exploration of Mary Walker Phillips’s work; I would never have heard of Mary Walker Philips if it wasn’t for the internet

The above swatch would not have happened if I didn’t have access to the internet. It’s how I found out about Mary Walker Phillips’s work. It’s how I learnt about her book Creative Knitting, which has been very inspiring and revelatory. It’s how I learnt isn’t always necessary to start a new adventure with rigorous planning and calculating and worrying things won’t work out. Sometimes you just need to cast on and get going.

I truly believe that anybody can become a great knitter and I hope that sharing my knitting projects on this blog is testament to that. It’s great to get comments on my blog posts that show it has inspired you go on your own knitting adventure: may sticks and string lead you down unheard of avenues and be ready to be surprised. I have a lot of fun this way, and I hope you do, too!

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Dear readers, first things first: a happy new year to you! I hope 2015 will be full of many fullfilling spinning, knitting, darning, and other crafty pursuits. I’d like to thank you all for following my blog and leaving me comments; I really appreciate your interest and support.

It’s a time for reflection, so I want to share with you some of my 2014 highlights, and also talk about what I have planned for 2015. I hope you will be as excited about that as I am!

2014

Looking back at my blog posts, I find I have done a lot of things, and I also realise there are a fair few things I haven’t even got round to share with you.

In chronological order here are some of my personal favourites of last year:

Creative knitting

Mary Walker Phillips Exploration Swatch Wall Hanging

A linen swatch, exploring Mary Walker Phillips’s book Creative Knitting

Returning from my parents after Christmas 2013, I had found out about Mary Walker Phillips, who wrote, amongst others, Creative knitting. For somebody who usually does a lot of planning and swatching this was a refreshing approach. After knitting this linen swatch I have been taken her philosophy to heart, and it’s given me a sense of freedom and let things happen as they come. As I always need a balance in my practice, I have also started a jumper with the largest amount of planning and swatching I have ever done. Using these different approaches side by side means they inform each other and make me value them both more than I did before.

Playing with wool with Deborah Robson

Wool Types workshop with Deb Robson

Deb Robson in her element: wool and spinning wheels, and a captive audience

2014 was the first time I went to Fibre East as I really, REALLY wanted to attend Deb Robson’s class on wool types. I almost didn’t make it, as I had an awful flu the days before, but I’m glad I went, as half a year later my head is still spinning (pun intended!) with all the possibilities of wool. Deb Robson is most generous and amazing in sharing her knowledge and knows how to get anybody interested in wool. Unfortunately I did not have much time for spinning since, so this is something I would really like to remedy in 2015.

Friesian darning samplers

Fries Museum stoplap darning sampler 4

One of the many darning samplers I saw at the Fries Museum

When the textile conservator of the Fries Museum, Gieneke Arnolli, invited me to view their collection of darning samplers, I couldn’t wait to get on the plane! I thoroughly enjoyed my visit and Gieneke’s hospitality. I learnt so much from it I had to write not one, not two, but three blog posts about it. It has inspired me to learn more about repairing cloth in the coming year.

A visit to Sanquhar

Sanquhar Gloves with Initials

Darned Sanquhar gloves, what a treat!

I have a bit of a “thing” for the traditional gloves from Sanquhar, so I was more than happy to attend the one-day workshop in Sanquhar itself. I gave a presentation on the Sanquhar knitting tradition, met a lot of interesting people, and developed a bit of a “thing” for Scotland – to be fair the first seeds for that were sown a long time ago.

Hacking the KNITSONIK System

KNITSONIK System Swatch Complete

A swatch made according, or against, the KNITSONIK System, depending on your point of view

My comrade in wool and good friend Felicity “Felix” Ford, published a book on how to find inspiration for stranded colourwork patterns in everyday things. She asked me to hack her system and I enjoyed taking on this challenge. As I had helped her out a bit with the book, we have had many conversations on rules and guidelines you can set yourself, and on how strict her instructions in her book should be. I think we both learnt a lot from this, and it has added a new perspective on my quest to be a more creative knitter and trying to let go of rules and planning.

Mending

Of course my year is not complete without some mending and repairing, and I have worked on two very special commissions this year, so they deserve a special mention.

The Visible Mending Programme - repaired jumper

“A Mother’s Work” repair commission for a private client

A Mother’s Work” was a very special repair commission that went much further than simply fixing a jumper. Being asked to repair somebody’s jumper made by her mum who has passed away proved to be a very intimate experience.

Knitting and Crochet Guild Commission in colour

Knitting & Crochet Guild Repair Commission

The other special repair was commissioned by the Knitting & Crochet Guild, and it allowed me to use some traditional techniques, which I have highlighted by using naturally coloured undyed yarns.

And apart from the things I did blog about, I have done some other things that made 2014 a great year for me: I made a jumper with a graphic design on the front built up in single row stripes and other technical details; I have been interviewed a few times by PhD students, magazines, and newspapers, which helped me think about and better understand my own practice; I volunteered at the monthly Brighton Repair Café, which I thoroughly enjoy, so I’m looking forward to many more meet-ups to come (incidentally, the next one is on 31 January 2015.)

2015

I’m much looking forward to 2015, as I have plenty of things I’d like to get done, such as:

Repairs

Late last year I met up with my good friend and repair comrade Bridget Harvey, and we have started a repair dialogue. We want to explore the difference between functional and non-functional repair, using a pair of tatty tea towels.

My visit to the Fries Museum has given me an insight in repairing cloth, and also about the way you can learn to repair, and who traditionally performed repairs of household items and clothes. I want to learn more about repairing and darning cloth, using some early 20th Century Dutch lesson plan books I have.

Spinning and creative knitting

Spinning and creative knitting will meet each other this year, as I have a project in mind that involves first spinning up British rare breed fibres, and free-form-knit them up in some sort of mythological cloak. I want to learn more about the role of clothes in myths, sagas and folklore at the same time.

Finishing things

There are also some things left over from 2014 that need finishing. Most importantly a Shetland fleece spinning project that’s currently on hold; I have started a jumper in brioche stitch (this is the project I mentioned earlier, for which I’m doing a extraordinary amount of swatching and planning.) I’m also knitting a  version of my Tom of da Peathill cardigan in a more roomy version; I have one sleeve left to do!

In summary, 2015 will be a year in which I will be doing a lot of personal, slow craft projects. Some of you may know that I also have a full-time office job, so in order to make sure I get to do the things I want to do to grow as a maker and mender, I have decided to run fewer darning workshops this year. I’m sure I’ll keep myself busy with planned things, and any surprises that might pop up. I hope you are looking forward to a new year as much as I do!

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I’m a reluctant fan of Kaffe Fassett‘s work; my appreciation for his sense of colour has come to me only a couple of years ago. Partly this stems from my slight colour blindness, which can make working with colours difficult for me. It might also have to do with the era in which Fassett first became a household name: the 1980s. It’s easy to dismiss that decade as one with ugly garment shapes and be done with it, but once you start to really look at the designs from that era, there is a bounty of inspiration to be found. Knitwear designers like Susan Duckworth and Patricia Roberts to name just a few, and indeed Kaffe Fassett, were masters at combining textures, shapes, and colour and I find there is lots to learn from studying these elements of their design.

Kaffe Fassett Banner with Anna Maltz

My friend Anna Maltz takes colour to the 21st Century

Now that I have some of his knitting books, I have started to get an understanding of how colours can work together. Even if the end result is not always to my taste, I can learn a lot from it. But looking at pictures is very different from looking at the actual garments. So when my friend and knitbuddy Anna Maltz (some of you may know her as Sweaterspotter) asked if I wanted to visit the Kaffe Fassett retrospective at the American Museum in Bath with her, I just had to say yes.

Rosie Wilks tree decorations for Kaffe Fassett at American Museum

Kaffe Fassett inspired tree decorations by Rosie Wilks greet you when you walk up to the exhibition

Fassett has a connection to the American Museum that goes back to the 1960s, when he made beautiful pen drawings of the period rooms. These drawings are also on display throughout the museum. The knitwear, needlepoint, and patchwork quilts were displayed in a theatrical setting, saturated in colour and dramatically lit.

tomofholland in the Kaffe Fassett American Museum entrance

Here’s me in the psychedelic entrance to the exhibition

I think that for me, the exhibition was not entirely successful. It was great to see all those pieces for real and I really enjoyed looking at them, but both Anna and I felt we haven’t learnt more about Kaffe Fassett the designer than we already knew. If you are interested in the background story, then I can highly recommend a five-part documentary you can find on the 4OD website here (my apologies, I’m not sure if you can view this outside the UK.) It was made when Glorious Knitting was released, and he talks about his passion for knitting, the connection between knitting and painting, sources of inspiration, and on being a professional designer.

Kaffe Fasset at American Museum patchwork quilt and coat

‘Pools of colour’ in every corner of the exhibition

In order to bring some structure in the displays, the exhibition was grouped in ‘pools of colour’ and this worked well. Although Fassett sometimes uses up to sixty different colours in a design (and in the patchwork quilts this is arguably even more if you look at all the printed fabrics) there is usually one colour group that dominates and I think that’s the key to working with colour. Any other colours that are thrown in the mix are there to add a little frisson to the colour scheme, and thereby lifting up and bringing it all together into a coherent design.

Stone Colours Kaffe Fassett at American Museum

Tumbling blocks and a peplum jacket in muted colours

Yellow Chair Kaffe Fassett at American Museum

An artfully aged yellow chair with a beautiful needlepoint cushion

Hidden Treasures Kaffe Fassett at American Museum

A sneaky peek: hiding under this huge shawl were a sweater and a cardigan

Mirror mirror on the wall Kaffe Fassett American Museum

‘Mirror mirror on the wall’ the entrance to the exhibition

Apart from the Kaffe Fassett exhibition, which is on until 2 November, the American Museum also houses a great permanent collection of quilts, patchwork, rugs and blankets and is situated on beautiful grounds. Lest you think it’s only about textiles – I am biased, after all – the collection at the Museum is in fact extremely varied, ranging from quilts to Renaissance maps, and Shaker furniture to ancient Native American tools. It takes you on a journey through the history of America, from its early settlers to the twentieth century, which made it well worth a visit!

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When the textile conservator of the Fries Museum in The Netherlands, Gieneke Arnolli, invited me earlier this year to visit their archives, I just couldn’t wait for my next trip to my home country. Her description of their textile collection made my mouth water and my fingers itch, as it contained many knitted items and darning samplers; what’s more, there were even knitted darning samplers!

Last week I finally got to visit Gieneke. There was so much to see and talk about with her, that I don’t quite know where to start with sharing it all, so today I’ll give you a general impression, and will write some more about particularly interesting items in two follow-up posts.

Fries Museum Mystery Gloves 1783

Mystery Gloves from 1783 – the initials read AI. The A is typical from Friesland, with the cross bar on top, but this is also seen in Scottish cross stitch samplers

These gloves are very special in many ways, as they were the reason Gieneke and I got in touch to start with. They arrived in the Fries Museum collection by way of a collector of curiosities. He probably bought them in some antique shop, and that’s all we know about them for certain. They have elements of a number of knitting traditions from a number of countries: the seeded stitch pattern and initials are like gloves from Sanquhar and The Dales from the UK, the Nordic star or rose could be from a Scandinavian country, the shape of the letter A is particular to Friesland and Scotland, and the embroidered loops are reminiscent of the elaborate decoration found in textiles from the Baltic states.

Fries Museum Floddermuts Fries folk costume

The Frisian ‘floddermuts’ – part of the traditional folk costume for women

The Fries Museum has a large collection of traditional Frisian folk costumes. One part of the women’s outfit was this skullcap, which would be worn over a bronze, silver, or gold head ornament, which sometimes covered almost the whole skull. Traditionally they were made from bobbin lace, procured from Belgium or France. At the beginning of the 20th century it became difficult to source the amounts of lace needed for the floddermuts (the ruffled neck part can contain well over a meter of lace) and knitted lace was a good substitute. In other words, there was no knitting tradition for these mutsen in Friesland, and they were made to emulate the bobbin lace. Many of them show patterns I recognise from Shetland lace knitting. This floddermuts was knitted with sewing cotton, using knitting needles probably smaller than 1mm! I particularly like the little bobbles in the diamonds on the back of this floddermuts. They are so round and full, they look like the muts is studded with pearls.

Fries Museum boys night caps

knitting is for boys – knitted boys night caps

In order to keep warm during the cold winter nights, everybody wore night caps. Traditionally, girls wore night caps made from woven fabric with delicate lace trimmings, and boys wore knitted night caps. Here’s a selection of them, mostly knitted by hand, but the Fries Museum also has some crocheted and machine-knitted examples.

Fries Museum doll's gloves

Miniature mittens for a doll

The Fries Museum also has a large collection of dolls. Most of the dolls were not to play with, but for girls to learn to knit and sew. Most of them have all the garments that make up a typical outfit of the period the doll is from. It allowed girls to practise the various needlecrafts and the construction of garments, from socks, underwear, petticoats, to shirts, jackets and coats. I loved these miniature mittens for a doll, in a jolly orange colour, and the loopy trimming at the edge.

Fries Museum knitting samplers

Yards and yards and yards of knitting samplers, some measuring more than 5 meters

There were drawers full of knitting samplers. They were used to learn stitches, and as an aide-memoire to remember their construction – in a way they’re personal stitch dictionaries. Susanna Lewis’s Lace Knitting Workshop on a knitting sampler held in an American museum was part of the inspiration for my Curiosity Cabinet of Knitting Stitches, so it was very nice to see some of these objects for real.

Fries Museum Knitted Mitaines

Mitaines kept your lower arms warm

Gieneke is particularly fond of the knitted mitaines. The fashion of the time (we’re talking very roughly 1750-1850 – I’m not a fashion historian and I didn’t manage to take notes of every single item I saw) dictated dresses with sleeves to the elbow, so to keep your arms and hands warm in a house without central heating, women usually wore mitaines, wrist warmers, or muffs. The pair on the right is particularly beautiful, with the pointed shape to cover the back of the hand, and this shaping is repeated on the thumbs.

Fries Museum Woven Darning Sampler

A woven darning sampler, although the second darn on the top-row emulates a knitted fabric – klick on the image to see it enlarged

When Gieneke opened the drawers with the darning samplers I got very excited! So far I’ve only seen these on-line and in books. It was a very special moment to be able to examine these up close, and see the back as well as the front. The darning samplers were part of most girls education. They taught them how to mend household linen in a large variety of weaves. These were executed in coloured threads (often silk or cotton) on a fine linen fabric. The colours would help see the beginning darner what was going on, and get a better understanding of the construction of each darn. Ultimately, the aim would be for these darns to be made in the same colour thread as the item to be fixed, so the repair would be nigh on invisible. However, I find these samplers in their many colours very beautiful, and I can only imagine the patience required, and undoubtedly the frustration felt by the girls who had to make these samplers. Interestingly, Gieneke pointed out that although most girls were taught these skills, leading to beautiful samplers, most real-life darning on the clothes in the collection was never executed with the same attention to detail. Clearly these women had better things to do than spend hours and hours darning a hole on a skirt.

Fries Museum knitted darning samplers

Can it get any better? Knitted darning samplers!

And after the drawers of woven darning samplers, Gieneke opened the drawers with the knitted darning samplers! What I really like about these, is that many of them were done on actual socks and stockings. Undoubtedly the girls first had to knit the stockings, then divide them into squares with the red thread; each square would then give them an area to practice a particular darning technique. It’s worth zooming in on this image (you can do this by clicking on it) as you will see that every sampler here not only has darns and repairs in red thread, but also in white or cream, rendering them almost invisible.

There are some interesting things to observe about the darning samplers, so keep an eye out for my follow-up blog posts, where I will discuss the woven and knitted darning samplers in a bit more detail.

With many thanks to the Fries Museum and Gieneke Arnolli for allowing me to take pictures and giving me permission to share them on my blog.

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Having just returned from a three-week holiday, I had plenty of time to look back to 2013, and look forward to 2014. Last year has been amazing, and I’m sure this will continue in the new year!

Looking back

Darning

Darning at Wool House, Somerset House

I was invited to darn at Wool House, Somerset House, as part of the very successful Campaign for Wool event. I had a great time, and Wool House put my darning sessions in the “best bits” list! It was super-busy, and I think I have enthused quite a few people about darning, and also explain why I like using 100% wool products.

Hope and Elvis Darning Workshop

2013 also saw the first of my day-long darning workshops. I went to Hope & Elvis, lovely Louise’s great studio. It’s stuffed to the gills with vintage fabrics, blankets, threads, scraps, books and any tool you would possibly need, so it was a lot of fun to explore various darning techniques. You’ll be pleased to hear I’m returning there in April.

ShetlandWoolWeek Darning at Jamieson & Smith

Last but not least, my darning skills took me to Shetland! Here’s a picture of my darning class at Jamieson & Smith. I had a great time, I met so many amazing people, with amazing skills. I left a few loose ends on purpose, so I have a good reason to return.

Knitting

Curiosity Cabinet of Knitting Stitches Lace

Early last year I exhibited at Prick Your Finger. My Curiosity Cabinet of Knitting Stitches explored many different knitting stitches and techniques, some old and rare, others common and much-used. It was a good way to learn about different techniques, and investigate them in detail.

Altered Kasha Cardigan for Wedding Outift

Rosemary had seen my Curiosity Cabinet, and thought I’d be the ideal person to take on a commission for her wedding outfit. I gladly took this on, and I knitted a Kasha Cardigan for her, with some alterations: a different collar, and three-quarter length sleeves. It was a great project to work on, and Rosemary has been wearing her cardigan many times since.

Aleatoric Fair Isle Swatch

Last year I also explored stranded colourwork, and in particular the Fair Isle tradition. Together with my comrade in wool, Felicity Ford, we devised a method to learn more about Fair Isle patterns, which took away some of the hurdles we often face when trying to knit Fair Isle. Using rules we made up and some dice, we left pattern and colour selection to chance, based on John Cage’s compositional concepts. We called this Aleatoric Fair Isle.

Spinning

Diamond Fibre Mill spinning

Other highlights include my visit to Diamond Fibre Mill, where I met Roger, who runs this small independent mill, specialising in worsted spinning, and who owns his own flock of Romney sheep.

timbertops chair spinning wheel

I also became the proud owner of an original Timbertops spinning wheel. A chair wheel no less. I haven’t had a chance to write about this yet, so keep your eyes peeled for a blog post in the near future.

Special mention

And if all that wasn’t quite enough, Kate Davies, Felicity and myself curated Wovember 2013 to celebrate wool in all its myriad forms. We posted features about growing, harvesting, processing, working, and wearing wool. I did many more things last year, so these were just some of my highlights.

Looking forward

Plans for 2014 are forming in my head, and amongst others, I’m looking forward to releasing my first cardigan pattern, using Foula wool. A bit later than expected, but it’s important to me to get everything right. I will continue working on the Aleatoric Fair Isle swatches. I’ve also taken on a very special visible mending commission to repair an upcycling attempt gone wrong. As previously mentioned, not only will I return to Hope & Elvis for a darning workshop, I will also run a Darning Master Class at Unravel at Farnham Maltings. More classes and workshops are in the pipe-line, so keep an eye out for them.

Scotch darn on sock

2014 will also be the year of exploring. I did some free-style knitting before Christmas, and I found it very liberating. I found some good books on the subject, and I have also been inspired by Rachael Matthews’s approach to making, and in particular what became her Explosion Jumper.

On the spinning front I want explore more lace-weight spinning, using wool from both classic breeds (Shetland), and unexpected breeds (Rough Fell.)

Last but not least I would like to explore more mending techniques, and in particular learn more about darning and repairing woven textiles. And I still have one or two jumpers to complete…

darned jumper

 

I don’t know about you, but I think I have plenty of things lined up, and it will be my pleasure to share them with you and write about them here.

Happy New Year!

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Shetland Wool Week is only a month away, and that can only mean one thing: Felicity Ford and I are working hard on our Aleatoric Fair Isle swatches. We’ve created a number of rules which tell us how to roll dice and select pattern and colour combinations depending on the outcome, based on John Cage’s composition Apartment House 1776. Since knitting my first swatch, we’ve gone through some iterations of the rules, and after talking about my knitting experience, I feel it’s now time to talk about another part of our Aleatoric Fair Isle project.

In honour of our inspiration, the John Cage composition, Felicity and I have been recording notes about the sounds we hear whilst working on the Aleatoric Fair Isle swatches:

AFI_1_CU

Aleatoric Fair Swatch Number 1 – close-up

Sound recording: listening to Pearl and the Beard’s album Killing The Darlings; faint sounds from the other room where my partner is watching Coronation Street; creaky noises from the wooden table which shakes as I write; the clock on the dresser ticking.

AFI_2_CU

Aleatoric Fair Swatch Number 2 – close-up (apologies, it’s upside-down)

Sound recording: the clock on the dresser ticking; traffic driving by; TV programme noises from the other room.

AFI_3_CU

Aleatoric Fair Swatch Number 3 – close-up

Sound recording: various music pieces drifting past on BBC Radio 3; the clock on the dresser ticking; the washing machine going into a spin cycle; traffic driving by.

AFI_4_CU

Aleatoric Fair Swatch Number 4 – close-up

Sound recording: knitting in the office during lunch time: listening to Philippe Jaroussky and Ensemble Artaserse on my iPod; clacking keyboards; office chatter. On another occasion: listening to BBC Radio 3; traffic going by; washing machine.

AFI_5_CU

Aleatoric Fair Swatch Number 5 – close-up

Sound recording: whilst knitting on the train, train announcements, someone munching on crisps and the slight slurp of licking fingers; on the iPod listening to David Bowie’s album Station to Station.

AFI_6_CU

Aleatoric Fair Swatch Number 6 – close-up

Sound recordings: the clock on the dresser ticking; BBC Radio 3 music drifting in and out of my ears.

AFI_7_CU

Aleatoric Fair Swatch Number 7 – close-up

Sound recordings: knitting at home, listening to a CD with music composed by Giacinto Scelsi and Hans Zender; occasionally noticed the traffic going by; the startled sound of me accidentally hitting the worklamp.

AFI_8_CU

Aleatoric Fair Swatch Number 8 – close-up

Sound recordings: knitting on the train, listening to Stockhausen’s Stimmung on my iPod; noises from the train filter through, as does the occasional announcement.

AFI_9_CU

Aleatoric Fair Swatch Number 9 – close-up

Sound recordings: traffic passing by; the clock on the dresser ticking; snippets of YouTube clips coming through from the other room.

AFI_10_CU

Aleatoric Fair Swatch Number 10 – close-up

Sound recordings: listening to BBC Radio 3, a live broadcast from the Proms where they were playing Shostakovich’s 11th symphony; traffic going by, a bus’s squeaking brakes; as we live close to the train station in a basement flat, I can hear the thunder of a train pulling in as it travels through the ground; the clock on the dresser ticking.

I find a lot of rhythm in Fair Isle knitting: a pattern is built up by repeating its elements, patterns and colours repeat throughout a garment. In the case of Aleatoric Fair Isle, these repeats are sometimes syncopic: the pattern repeats and the colour repeats are not always synchronised, for example, see swatches 2, 8 and 9 above. And so it is with the sounds I’ve recorded so far. There are many recurring sounds, but not always at the same time; if I hear the clock on the dresser ticking, I might be casting on, charting, knitting, or tying knots in the cut steek. In contrast to the aleatoric experience, where I roll the dice to make a choice, many of the sounds I have recorded are completely out of my control. Yes, I consciously choose to listen to CDs and radio, which gives me a varying level of control of what I hear, but, as you have seen, there are always other sounds to hear, too.

And so it is with the Aleatoric Fair Isle: using 21 shades of all the beautiful Jamieson and Smith colours as selected by Felicity, colours and patterns play with each other in unexpected ways. We are looking forward to presenting our findings at Shetland Wool Week 2013. Our talk “Interesting Yarns and Aleatoric Fair Isle” is on Thursday, 10 October, 17:30-19:30 at the Shetland Museum and Archives.

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It has been long in the making, but I’m pleased to let you know that The Curiosity Cabinet of Knitting Stitches will be shown at Prick Your Finger in Bethnal Green, London. The private view is on Friday, 15 February. Come join me and marvel at the curious and the recherché!

bias_closeup

Swatch 15 – Bias effects from spacing eyelets and balancing decreases

Anybody who has visited me will know that I have quite a collection of knitting books, and it will come as no surprise that I have read all of them at least once.

reference_books

A selection from my library

There is only so much reading about knitting one can do. However well explained, if one is curious, then nothing quite beats picking up sticks and string and try things out. I ended up with a box full of swatches, and a head swimming with techniques, and it felt like such a waste to keep things to myself. Seeing some swatches pinned out on my blocking board reminded me of the Curiosity Cabinets of yore, with rows upon rows of insects:

CuriosityCabinet1

Painting of a Curiosity Cabinet

Cabinets of Curiosities, or Wunderkammern, arose in mid-sixteenth-century Europe as repositories for all manner of wondrous and exotic objects. In essence these collections, combining specimens, diagrams, and illustrations from many disciplines; marking the intersection of science and superstition; and drawing on natural, manmade, and artificial worlds can be seen as the precursors to museums. The key concepts and notions that lay behind the assembling of Cabinets of Curiosities were: 

experiencing a sense of wonder in all kinds of things in the world; discovering new and extreme examples of the natural and the man-made; making connections across the whole field of human knowledge; Experimenting with arranging, re-arranging and classifying parts of the world (and the connections between them) in many different ways. As Samuel Quiccheberg (an eminent curator of cabinets) wrote:
”The ideal collection should be nothing less than a theatre of the universe..keys to the whole of   
 knowledge.”

CuriosityCabinet2

An early example of a Wunderkammer

I created two Curiosity Cabinets. The first one deals with a small selection of cast-on and cast-off techniques, single and double increases and decreases, selvedges:

cast_ons_etc

Most of the techniques displayed here come from an anthology about knitting by Threads Magazine, Barbara Walker’s Knitting from The Top, Montse Stanley’s Knitting Handbook, Mary Thomas’s Knitting Book, and June Hemmons Hiatt’s The Principles of Knitting.

The second Cabinet is all about lace: lots of different fagotting stitches, exploration of bias in fabrics introduced by the interplay between eyelets and their balancing decreases, the many different ways of creating chevrons which is an essential shape in lace knitting, and a variety of eyelets:

lace

The lace knitting techniques are for a large part from Susanna Lewis’s Lace Knitting Workshop, sprinkled with some Mary Thomas and Montse Stanley.

But that is not all: I will reveal the top 3 Knitting Nightmares! It turns out that the regulars frequenting Prick Your Finger don’t have that many knitting nightmares, they are very good knitters indeed. Luckily when I asked the audience at In The Loop 3, I got inundated by responses. And indeed, I would like to thank The Knitting Reference Library, where you can find more books about knitting than you could dream of; it is where I learnt about the existence of quite a few books now also to be found in my own library.

KnittingNightMare2

Knitting Nightmare, based on Fuselli’s The Nightmare

I hope you will join me for the Private View on Friday, 15 February at Prick Your Finger. If your curiosity is not quenched by a drink that night, then I would urge you to join my Curious Stitches Class on Saturday, 16 February (details to follow).

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