Making It the Old-Fashioned Way

It is tempting to consider the process I am about to describe as the result of a point of view which is subjective and maybe even romantic. Although the adjective old fashioned as used in the title carries a certain amount of ironic wit, in fact my method of weaving is ancient and timeless. I chose it because it is the only way I can adequately convey the majority of my ideas about the textile world. I also work this way because I love the process itself I have tailored my ideas, and risked hobbling them, in order to continue to indulge in a way of working that suits me eminently. I weave objects which I call tapestries, although technically they are compound twill fabrics with images composed of discontinuous inlaid wefts. The structure is a threeharness twill; the ground is warp-faced and the inlaid areas are weft-faced. I selected the structure after studying the three-harness twill tapestry ofKashmiri shawls. The structure confers the ability to express acutely refined detail while yielding the drape necessary for a shawl\u27s function. I adapted the weave to an inlay structure in order to economize on the time spent in weaving. In fact, I weave quite rapidly as a result, often more than 12 a day. I am also able to exploit both warp and weft as design elements. The sett of my warp is relatively fine, 30 epi, which gives the work good detail and yet is a large enough scale to be able to see easily the interaction of colors between individual threads