The BIGGEST Little Tapestries in the World: ATA's small format unjuried exhibit in Reno, NV

One of the many pleasures I've had while attending HGA's Convergence and ATA's annual meeting and retreat in Reno this past week has been viewing this show of over 200 tapestries measuring under 10" square. I'm going to share with you a few of my favorite pieces from the show, but you can enjoy them all at your leisure by ordering a catalog from ATA HERE.

For a couple of decades now, the small format unjuried show has been a great chance for weavers from all over the world and of all levels of experience to show their work.  I did not enter a piece this year.  But visiting the exhibit offered an instructive look at the challenges and rewards of working at a small scale.  Of course opinions on what constitutes a successful work of tapestry art vary widely; we all have differing tastes.  When I catch myself looking at tapestry lately, I'm noticing I gravitate toward pieces with graphic simplicity, a limited palette, or an uncomplicated composition.

Here are a few where a limited palette made a strong statement to my eyes.

Distance, Janet Austin

Blue, by Rebecca Mezoff

Fold, Maggie Edwards

10 x 10, Ann LeRoyer

Yellow and Gray, Mike Wallace

The Meeting of Shadows, Laura Hodgdon

My students know I like to preach about how value is more important than color; you can see in the pieces that are mostly in grayscale how true that is.  With effective light-dark contrast you almost don't need color!  When there is color, its proportion and amount are carefully calibrated for maximum impact.  Of course all these pieces also owe their effectiveness to strong composition and excellent technique.  I want to turn now to the tapestries whose bold, simple compositions make an impact.

Afloat, Martha May

Center of the Sun, Sarah Warren

Reignited, Julia Rapinoe

Vision of Yew, Jean Clark

Rhythm and Blues, Mary McMahon

Try an Angle, Deb Shoenberger

One of the things I especially love about this group is that in many of them, the weaving techniques and format create the image.  Wedge weave, eccentric weave, a triangular shape, an adaptation of traditional Navajo design,  are not arbitrary choices superimposed on an image but are integral to the overall image.  This is an "aha" moment I will carry back to my studio, something I will continue to strive for in my own work.

Stay tuned for more from the exhibits and classes at Convergence and ATA! 

Convergence. Reno. July 2018.

This post will be of particular interest to my weaving friends out there.  Weavers know that Convergence, the biennial international fiber conference hosted by the Handweavers Guild of America (HGA) is not to be missed.  There's a huge slate of workshops and classes, a vast vendors hall, fiber art exhibitions, a fashion show, talks and field trips and tours. You can view the schedule of all the events  HERE.  And of course, there are lots of weavers walking around in their jaw-dropping handmade creations, giving each other the "weaver's handshake" (you know what I mean!).

I'm thrilled to be going back this year for the second time as an instructor.  I'll be offering two classes:  a 3-hour seminar called "Plan Your Tapestry Diary," and a two-day workshop called "From Collage to Tapestry Cartoon."  Both are geared to tapestry weavers who have some familiarity with basic principles and techniques.  Beginners are welcome.

Priority Registration opens today, November 29, at noon EST and runs until Dec. 6 at noon EST, when regular registration opens.

Molly Elkind,
2017 tapestry diary in progress (March - July visible)

"Plan Your Tapestry Diary" is just what it sounds like.  If you're curious about why so many tapestry weavers have adopted a daily practice, this class will answer your questions and help you plan your own.  We'll look at lots of examples of diaries and discuss the many possibilities for format, size, theme and techniques.  For me the most important benefit of keeping a tapestry diary is that I can play, learn, and practice techniques in bite-size chunks (as little as 15 minutes) every day.  Every diary is as unique as every weaver--you make the rules, and you can break them.  (You can see in the photo above how I've changed up the rules each month in my own diary this year.) And you don't need to wait for January 1 to start yours!

There's no need to bring a loom or yarn for this class--just pencil and paper.  A basic familiarity with the tapestry process is helpful.  Go HERE and scroll down to 3-hour seminars on Friday afternoon for the details.

cropped portion of collage

Molly Elkind, "Huh?"
4" x 6" tapestry inspired by collage

"From Collage to Tapestry Cartoon" is geared to tapestry weavers who want to explore ways of designing for tapestry that don't start with drawing or painting.  You will gets lots of hands-on experience with collage, consider what makes a good design, and--this is the exciting part--explore how to translate your cut-and-pasted collage into a weaveable cartoon.  How will you convey the colors, textures, lines and shapes of your collage in tapestry weave?

Again, there's no need to bring a loom for this workshop.  We will focus on design and making a cartoon; you will leave with a design (maybe more than one?) ready to weave.  The supply fee is minimal and all you need to bring is blank paper or sketch book (8 1/2 x 11"); colored paper or old magazines in variety of colors, textures and patterns, and glue sticks, markers and/or colored pencils.  I'll share from my stash of interesting materials as well.

Molly Elkind, collage for Mary (greater is what she bore in her mind)

Molly Elkind,
Mary (greater is what she bore in her mind), handwoven tapestry, 2015

Questions?  Email me or ask in the comments below.  Hope to see you in Reno!