Power of Pattern: Central Asian Ikats

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Among the most colorful clothing in the word, ikat robes — which hail primarily from the “the Stans,” or Central Asia — employ “creative use of scale, proportion, and orientation.” They are created by dying the warp (or vertical) threads of silk and cotton, sometimes multiple times.

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This past week, my husband and I had a chance to head into Los Angeles County Museum of Art (LACMA) to see this collection.  Here’s the notice in the gallery:

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Note the embroidered cuff.

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This photo of a Tajik Wedding ritual (1865-1872) shows the rich patterns of both men and women in their ikat robes.  I did a Google Image search, which has lots of results, but these older robes, as shown in LACMA, are rarer now.  In that Image search, I saw lots of machine-made ikats, which don’t have the subtlety of the hand-dyed.

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On the right is a series of threads which will form the warp threads in a loom, showing their various patterns from dying them using a resist process:

“Fabricating an ikat design demands vision as well as time. Before any actual weaving takes place, the lead craftsperson must picture a fully fleshed-out color pattern. Next, assistants soak the warp threads of the textile-to-be in a series of dye vats—up to eight in total—accumulating hues along the way. Prior to each dying phase, all stretches of warp are strategically bound with dye-resistant greasy thread, leaving exposed only those portions meant to be colored.

“By repositioning the dye-resistant thread before every immersion, textile makers gradually cover the entirety of the warp in an array of different tones. The most skilled designers will subject some sections of the material to multiple immersions, combining red and yellow dye to produce sunset orange, or red and blue dye to yield rich royal purple.

“Finally, when the Technicolor warp is ready, loom operators stretch it taut and gird it with a cotton or silk weft. The result is a long, narrow oblong textile bearing the designer’s repeating geometric pattern. This can be shaped into an eye-catching coat, or alternatively kept two-dimensional and made into a wall hanging” (from an article in the Smithsonian Institution Magazine, when they mounted their exhibit of ikat).

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LACMA’s didactic label in the exhibit

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I love the visual doubling and tripling of pattern and color in this robe.

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I think the guards thought I was crazy when I came to this robe.  I kept crouching down, zooming in, trying to capture the details of what I would call a type of kantha stitching, embroidery, hand overcasting.  It was a riot of color and texture and pattern:

You can see the nature of the ikat weaving, which blurs the edges as the weft yarns are woven through those pre-dyed warp yarns.  To make velvet, two rows of weft yarns are needed, instead of just one, so velvet robes were considered top of the line.  In the outfit above, it is the outermost robe.

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I took so many photos, that I’m not really sure which title goes with which picture, but I enjoyed reading the names of the clothing: a woman’s robe is a Munisak, a woman’s dress is a Kurta, and a man’s robe is a Chapan.

“Defined by an hourglass sihouette produced by the gathered fabric at each side of the waist, a munisak was used throughout a woman’s life for significant events, from her wedding to her funeral.  As such, it was an important part of her dowry” (LACMA text).

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Recently, my friend Judy had traveled to this area with her husband, so I was familiar with the term “the Stans,” and what the area looked like.  Although some consider that term a snub (“stan” means land, as in Afghanistan is the land where Afghanis live), I think it works well for those of us not familiar with where these countries are:

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Image sneaked off of her travel blog, *here*

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Women and their Ikat Robes (2017), from *here*

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Turkish Coat, pattern #106

While we were in the LACMA exhibit, I told my husband that many quilters have used FolkWear patterns to make a similar robe, and added detailed surface decoration.  I first learned about ikat when I took a class in Houston several years ago from Roberta Horton, a reknowned quilter, who showed us ikats from her line of fabrics, made in India:

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Although I was a Clothing and Textile Major in college, I’d didn’t remember hearing about this fabric before; perhaps that why I wanted to blog about it today.  But in the quilting world, we also have variants of these colorfully patterned robes worn by these people from Central Asia.

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I’ve seen the Tabula Rasa jacket and all its variations, from a pattern by FitForArt.  Perhaps it’s the blurring of the lines between our patterned quilts and these beautiful ikat robes?  The more surface decoration the better?

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Not always. I’ve also seen some not-so-great versions of handmade clothing that were patterned to within an inch of their lives, certainly showing their makers’ skill but not always on the level of what was in that exhibit.

The brilliant thing about these ikat robes is the sense of balance that is present.  Even in the layering of the different patterns, something pulls them together, links in either color or design.  A worthy goal for our own creating, wouldn’t you say? whether it be in quilts or robes or clothing.

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This was another experience that showed me that old truth: it’s always good to get out of my head, my studio, and the endless loop of social media, in order to gain inspiration from other places in the world.

Happy traveling, and Happy Father’s Day!

Wedding Day for Us

The day my husband became a father to four children.

Art Muses/Art Musings

Everyonce in a while it’s good to leave your tribe and take a look at what other artists are doing.  It also helps to be in recovery from shoulder surgery so when that rabbit hole in Instagram opens up, you have too much time are free to follow where it leads.

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Photo: Polly Apfelbaum assembling “Mojo Jojo,” Pérez Art Museum Miami, 2013. (from DrawingCenter on IG)

I first followed the Polly Apfelbaum hashtag.  She is an artist about my age, and still producing interesting and thoughtful works of art, many which seem to intersect my world of quilting. I grabbed this screen shot from DrawingCenter, who also had a series of quotes from her, which I loved:

“Her interdisciplinary approach is most notable in her floor pieces that she refers to as “fallen paintings,” the series of work that she best known for. Laid on the floor in intricate and somewhat psychedelic patterns and forms, the paintings are made of fabrics that have been dyed brilliant hues. The striking use of color aligns her work with abstract expressionism, but rejects the hypermasculinity of the style through the use of fabric and horizontal orientation. Apfelbaum explains that “[the] floor was a place that was inclusive but I could also be reverent.” By installing on the floor, viewers are able to walk around the art making the piece more fluid and approachable.”

She goes on to say “that she wanted “a relaxed sense of form, a form that was more abstract, a form that could kind of be chameleon-like, it could go from talking about minimalism, but could also talk about maximalism…and to craft.” Indeed, the dialogues around her hybridized work are wide-ranging and include feminism, religion, outsider art, and domesticity.”

Loved the “hypermasculinity” idea, reminding me of when I proposed a show of quilts to my Art Professor in college.  “Over my dead body,” he said.  It was then I realized that quilts were essentially, in his mind, NOT art, but I daresay they might be called “hyperfeminine” with the use of fabric, of soft construction.

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Apfelbaum also works by creating shaped woodcuts, which are then inked in vibrant colors, then placed in a design.  Of course I think it looks like a quilt. More images, below:

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This last one is especially quilt-like, I think, in terms of the shapes.  Is the quilting world is having an impact on others?  They probably don’t know we exist, but I do believe in the idea of cross-pollination:

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These last two are by Luis Zerbini, a Brazilian artist.  The second one is definately an Orange Peel block, or a Wedding Ring variant, if you ask me.  Even housework can inspire art:

Lynn Aldrich‘s Coral Landscapes made from house cleaning items; the one on the left is titled Marine Preserve.  I wonder if the one on the right is a wannabe Lynn Aldrich?

Anyone for some Nine-Patch?  With pieced sashings? Start cutting up your solid scraps into squares.

The art world can also be an interesting way to learn about value, a classic part of creating an interesting quilt.  I’ve tried to include the sources so you can go and have a look:

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Bringing this to a workshop would certainly get everyone’s attention about the impact of using those light-to-dark values.

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I’m pretty sure she does this with make-up.

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A screen shot of my Saved images from this morning.  I’ve started making categories and put some of these in the Random Color/Art category of my saves.  Just after you hit that little ribbon to save, the prompt comes up: Save to Collection.  Tap that, and then either direct the save into a category, or make a new one.  It helps in finding things.

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You might want to try to what I call “focused browsing” if your eyes are glazing over after looking at three billion quilts in your feed, and you’ll scream if you see another heavily curated shot with threads and scissors everywhere where you feel like you are trapped in the Dungeon of Cute.

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a screen shot of the #colortheoryandaffect hashtag on IG

Some of the hashtags I followed were #gridart, or #hardedgepainting, or the names of the artists themselves. @DurhamPress also had some interesting images. Sometimes I would go to an artist, click on the name of the gallery they were showing at, then look at what the gallery had.

Yes, a little focused browsing might just clear the mind a little.

Quilts and Stitching in Art

Okay, I had a fun time in Washington, DC this spring once I realized I could play I Spy and look for quilts.  I think this is a good game that I should keep playing, and if you have a picture of a quilt in art — whether it be in a painting or a photograph in a museum — send it over and when I get a slew, I’ll do a post.

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Okay, this isn’t technically quilting, but it’s stitching.  This is a detail of Mending, by Isabel Bishop and hangs in the National Portrait Gallery.  She writes “I have noticed regular denizens of [Union] Square [in New York City] who, sitting on the benches or on the fountain, easting, sewing or rearranging their worldly good in paper bundles, seem to be leading the most private of lives, entirely oblivious to the public character of the place.  The not-beautiful forms of the fountain seem. . . to make a throne for the old man sewing his trousers; he is billowing old overcoat [becomes] a robe.”

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Elias Howe Pillow

This is a needlepoint stitchery in the gallery of the Washington National Cathedral that honors the 100 Most Famous Americans, all who have a red needlepoint pillow on a chair. Of course I was drawn to this one, honoring Elias Howe, inventor of the modern-day sewing machine.  We ALL owe him a debt.

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Sondra Freckelton’s Harvest is one of her still lives that capture “the quiet beauty of domestic, often feminized objects — quilts, garden implements, house wares, and fresh produce gathered from her own garden in the . . . Catskill Mountains.”  I don’t know about you, but I was interested that a Smithsonian label-writer plopped in that phrase of “domestic, often feminized objects” when discussing Freckelton’s watercolor.  Don’t tell our male quilters this.

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And I knew she wasn’t herself a quilter, for who of us would plop down vegetables on top of this gorgeous appliqué quilt?

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Mary Fletcher was born in 1940 and died in 1922, but her fine hand-pieced hexie silk quilt now resides in the Smithsonian’s National Portrait Gallery.  We are all jealous!

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I decided she had an amazing scrap bag to have so many beautiful silks to work with.

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And lastly, Honore Sharrer’s Tribute to the American Working People, who employed the polyptych format of medieval paintings to pay homage to the working people of America.

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And here’s the quilt–in the upper left panel: a lovely scalloped Dresden Plate.

What I Learned from the Cedars-Sinai Hospital Hallway Art

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This collection started as a way to help a beloved husband heal.  I was there to share some time with my sister, as her beloved husband is battling cancer.

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But when I went to get her a soda, and found my way back to the right space by following the trail left by the art in the hallway, I learned that a line. . .

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. . . can be colored in. . .

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. . . to make some great shapes.

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Maybe a quilt block or two?

More about the art in the Cedars-Sinai hospital, on YouTube.  And Happy Veteran’s Day, if you are in the United States.  Thank a vet for their sacrifice.

Cedars-Sinai Art Quilt Block