Healing Handcrafting

exploring process and healing through fiber arts and handcrafting


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Carding Wool is No Joke!

I’ve gotten a bit behind in documenting the wonderful work my daughter’s class did in their woolen adventures. A few weeks ago, the “job” for the day was to card their beautiful, dyed wool. I wanted to share a bit about how we did it and how these young five and six-year olds fared.

For the activity that day, I brought in my Fancy Kitty Drum Carder, which I love and adore. I was careful with it, and I had some rules: no touching it without me being right there, don’t crank it as fast as you can, no fingers on the carding cloth, and have fun! I also brought in some mini-hand carders (for this project I actually used small dog brushes (these are not the exact ones I used, but they are similar). I KNOW! CHEESY! But listen, they worked fine for this project, and they were affordable given the quantity I needed.) I brought in my regular sized Ashford Hand Carders as well.

The way we organized the class that day was to show a brief slide show talking about carding and what it actually means. Then, I met with about five children at a time. Around a table, they all had locks to start fluffing out. Once enough fiber was fluffed, I taught them how to load the hand-carders. While three students used the hand carders, one  fluffed more wool, and the other started the process of carding on the drum carder. They all rotated through all of the jobs. I provided coloring pages for the kids who were waiting for their turn to card.

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I have to say, the drum carder stole the show. Not one of the students was unimpressed with that tool, and all wanted to use it more. I wished I could have given them more time on it! The children were in agreement that adding different colors to the drum carder batt was the way to go, so by the time we got to the very last student, we had a gorgeous tutti-fruity looking batt that I wanted to spin so bad! Oh, the self-control!

I think that the kids really got to appreciate the time, patience and purpose behind carding wool. They all seemed to feel like they had put in a good day’s work, including my daughter, who’s seen this all a bunch. I was so proud of them.

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Random Inspiration

I was out the other day with my kids and another family for a great lunch in an old-timey malt shop. This was on the table right in front of me:

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It says: “We cannot live for ourselves alone. Our lives are connected by a thousand invisible threads, and along these sympathetic fibers, our actions run as causes and return to us as results.” ~ Herman Melville

I find myself thinking about this quote a lot right now, turning it around, wondering what Melville had in mind when he wrote it. I’m inspired by it, and I do find that my relationship with fiber is changing as I think about my connections with known and unknown people, how I interact with the world and what I expect from her, and how I long to participate in life. I’m feeling my focus changing and becoming more intentional. I feel like priorities are becoming more clear, although at times they pull in opposite directions, causing a strain for me, and a need for discernment. I’m becoming less upset about the reality that there just is not enough time to do all the things I want to. That is painful. So, the things I let go of… I have to be okay with them going… grieve them a bit… and allow the regained energy to fuel what is right in front of me.

All this from time well-spent at a malt shop, eating my most favorite ice cream flavor ever: peppermint stick.


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Valentines and Textiles

If you told my 18-year old self that one day I would be more than delighted to treat myself and family to a brand new dish towel for Valentine’s Day, I would have probably swam to a different land in an attempt to start over, reboot, reset my course to avoid such a fate. 

I’m so relieved no one meddled with my future in such a reckless way, because now I am the proud owner of hopefully the first of several hand woven towels made at the Marshfield School of Weaving. It is gorgeous, sturdy, soft and functional. It took time, great skill and a dedication to an “old” way of making. It felt like a decadent, yet moral and tame purchase. We will have this towel for decades, I’m sure. And every time I dry my hands, wipe up water or dry a pot with it, I will think about where it was made. I love this more than champagne and chocolate. 

Go to Frog Hollow in Burlington, VT to see a lovely exhibit from the Marshfield School of Weaving. It runs through the end of February and won’t disappoint. 

  


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Lessons, Confusions, Leaky Pipes and The Sweater that Ties It All Together

Well friends, my sweater is done. DONE. And I love it, but guess what? I totally messed something up again. Here’s the picture of the sweater on yours truly:

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Here’s the picture that goes along with the pattern:

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And by the way, the pattern is from this gorgeous book by Teva Durham:

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Here’s what I think happened on the way to putting a sweater on I may never take off… The first time I started the sweater, it was too small. Way too small in every way, but especially around the arm holes. When I went back a second time to make it, I decided to use measurements that were too big for me, but that I thought would give me enough room around my arms to dance like no one is watching, just in case the mood struck. BUT, it turns out, when you pick a size too big for you, it’s actually too big. Those of you who are experts in the field of the making things that fit already know this, but for those like me, I realized I tend to interpret things that don’t need to be interpreted. This very issue came up recently as I was trying to communicate about things to do with state licensing requirements for psychologists; those rules don’t need to be interpreted. They need to be understood and executed. They are not grey, or blurry or sort-of guidelines. They are black and white rules. Just like measurements. I chose a bust size for my sweater that was six inches bigger than my actual bust size, yet I was flummoxed when I had this extra fabric on top, and the arm holes were still on the snug side!

So guess what else I learned? If the arm hole size is the problem, address that, not the bust measurements. Makes sense in retrospect, but it was only when I read another crocheter talk about adjusting the arm length for herself that I realized the subtlety of this lesson. Don’t fix what ain’t broke. But do fix what is.

The picture of me above was taken right after my husband told me we had an epic leak in our basement. There was water everywhere, and wow did that change my plans for the day. Before I went back down in the basement to shop-vac (thank GOD for those!), I asked him to please take a picture of me wearing my new sweater*, because even though it did not turn out as I had hoped (like how it looks in the picture), I like what I did to make it work for me. It’s kind of ruched now, and I added two buttons so that it can clasp higher up on the collar next to my shoulder, while the two original buttons can hold the shape. They fit perfectly through the spaces in the pattern. And while I haven’t had the chance to dance like no one is watching in my new sweater, I was able to shop-vac like a pro while wearing it. I know that wearing the brand new sweater I just an hour before completed while shop-vaccing was ridiculous, but I truly couldn’t bear to take it off. It is the first sweater I’ve made after several other attempts. I’m sorry Lisa, my dear cousin! You will get your sweater one day!

Sitting many mornings in a dark house but for the light shining on my crochet project, I did a lot of thinking about all kinds of things. I thought about how I want my daughter to have this sweater one day, and that it was her sweet little early-rising self that replaced the project in my lap many times. I thought about choices I’ve made in my life and how this life I’m living right now feels so rich in growth, reflection and opportunity for change. I’ve thought about how my approach to reading pattern directions mirrors so much of how I’ve approached other things in my life; some that could have used maybe a bit more commitment to simply understanding what was required and doing what needed to be done, while others could have used a bit more courage and freeform living. I can’t help but think now, with my modified sweater, how often in my life I over-compensated for the wrong problem, or for a problem that wasn’t mine to begin with. It’s all there, made physical in this beautiful sweater that on the first day of wearing, proved that it can stand up to hard work.

I came across this quote today while I was working on an article about regret before the leak episode:

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Anyone who says you can’t make meaning of everything is wrong. Everything is connected and it’s all available for contemplation in every stitch we make.

* Can you imagine the look I got from my husband when mid-mega-leak I asked him to take a picture of me in the sweater I just finished?


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Watching The Sun Rise

Almost every morning I watch the sun rise. Almost every morning when the sky is just releasing to the light, I can hear voices and footsteps upstairs, my cue that I can maybe fit in one more row, or read one more page before making room on my lap for little ones. This morning, I’m working on my sweater. I will try to finish this strong red piece, this project that has taught me in a physical way, that it is okay to start again, to take what I’ve learned and put it to good use by doing things differently, by adjusting, by going back in and not giving up in frustration. 

Start again. 

With what I’ve learned. 

  


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Interview With An Artist~ Susanne Ryan of The Felted Gnome Knows

When I got into crochet and opened my Etsy shop, I was not part of a fiber community. I was inspired, energized and over-the-moon in love with making little funny creatures that made kids smile (and grown-ups). I would look at Etsy and marvel at the creativity and artistry of people all over the world, and often times, barely knew what I was looking at~ I had no idea what needle felting, wet felting or even fulling knitted items were! I was super green.

Until: Susi.

One day, I got an email through Etsy from someone who had an Etsy shop too, called The Felted Gnome Knows. The artist behind this great shop is Susanne Ryan, aka Susi; she introduced herself and I immediately realized that I had already been admiring her work. Her pieces are whimsical, gentle, and inspire creativity. And she lived just a couple of towns away from me! I had no idea what needle felting was at that time, but would see pictures of needle felted creations and ache to understand how they were made. I cannot remember the first time Susi and I met face-to face! Isn’t that funny? In no time at all, though, we became friends. And then we took our first trek up to Mountain Fiber Folk together, which changed my life in so many ways.

I recently sat down with Susi and asked her questions about her art, her craft, her opinions on fiber, her history, and I wanted to share our conversation with you.

The Interview:

HH: I feel like the process of working with wool inherently is soothing and centering. Obviously I’ll want to get to that, but first, can you tell the story of how you came into fiber art?

SR: Several years ago, my husband was transitioning into a new phase of his work life and consequently money was tight. We have a very large family, and that, for some reason, was the year that folks decided that we were going to get a little something for everybody. At that time, I was taking wool sweaters and fulling them down and making them into things. I was knitting and I had gotten a needle felting kit with my daughter at Kaleidoscope Yarn. It was to make little Santas. We made them, and there was something about needle felting where I thought, I could do so much with that.

Interestingly, I wasn’t interested in spinning wool at all. I started with needle felting and then went into wet felting. Initially, I found that there were not a lot of stores in the area that carried felting supplies. The area store that did had classes that were at times I couldn’t go. Also, there are some who are very ready and willing to help people learn things and some who are not, so I ended up learning a lot on my own.

Around that time, I ran into Leslie Lewis (Ewe Who Farm), an old friend from my school days, and we reconnected. Over time, she made a quilt for Maggie and told me about her sheep. So, after seeing that options were limited in terms of local stores helping with my fiber questions, or simply not having the supplies, I contacted Leslie again and asked her if she sold her fiber, and she said “Yes!” I had already been going to farmer’s markets and buying wool from farmers, but getting in touch with Leslie is really what started my seeking out of local farmers to buy fiber from.

When I was at Kaleidoscope yarn, I remember them handing me a brochure for Mountain Fiber Folk, so when I met you I said, you know, I’m going to go up there. I had gotten to the point where I wanted to buy local. I’ve always been interested in and shopped at farmer’s markets, and was involved in getting a farmer’s market in my town. I’ve always felt strongly about that. If you support a local business, they support local and your money goes back into the community.

Going up to Mountain Fiber Folk and seeing what they were doing and how they were doing it was very encouraging in terms of what I wanted to do.

I’m all self taught. I’ve only recently started taking classes this year for things that interest me like the masks and the clothes.

HH: And those classes are very specialized, right? This is a commitment to taking your craft to a whole new level.

SR: Yes, they are advanced classes. It’s interesting to meet all of these women who are so big in the fiber world. I thought Gladys Paulus and Anita Larkin, being in the upper echelons of the felting world, might not be approachable, but they were very down to earth and accessible. This is a passion for them.

HH: Oh yeah, it’s totally a passion! It grabs you and doesn’t let go! It is so inspiring to see what artists do with fiber. It seems infinite, the possibilities.

SR: It’s not going to support you… part of that is that people have no idea how much work goes into making needle felted sculpture, or hats and slippers. They take hours and hours, and sometimes many days. Especially when you take into consideration that often times, I’m getting these fleeces processed by Michael (of Hampton Fiber Mill), or processing them myself. I tend to be a very particular when it comes to skirting and cleaning a fleece, so that takes a lot of time! But you know, it’s frustrating when you pay for roving or batts and you’re picking out veggie matter!

And also, people are really getting a full-on, Vermont-made piece. Needle felting has become popular, so overseas companies are mass producing felted figures and selling them cheaply which makes it difficult for the consumer to understand why local pieces like mine are higher than other felted products. 

HH: I was thinking about the social and political aspects of fiber art yesterday when I was dyeing wool with kids at school. There is so much to think about and make choices about when it comes to where we buy our supplies, how we process our fiber, and where we spend our own money. It’s a whole mind-set.

SR: I also think too, in Vermont, we are so focused on the maple producers, and the organic food movement, people forget that there are a lot of sheep and goat people out there that are struggling. They have a wonderful renewable resource that is not being tapped into or marketed appropriately. Not only can we make clothing with it, but it can be used for insulation, you can compost it…. There’s so much you can do with this product. These people are living from hand to mouth, all for the love of their sheep!

HH: What do you think it is about working with fiber that makes people so passionate? Or, what grabbed you about working with wool?

SR: There’s something very earth-bound about it. It’s very grounding. There’s something about wool that’s very… I think it’s the same as gardening… it puts you back in touch with the natural side of the world. You are woking with a natural product that is renewable. It’s warm and it evokes a sense of homeyness and tradition. There’s something magical about it. You know, you can twist it and it becomes yarn! It magically transforms! There’s a whole magic to it… like alchemy.

I also really dig the fiber community. They’re really very down to earth people. Most of them, I have to say, especially those who raise their own animals, are very warm and open and generous about their knowledge.

HH: Isn’t that what was so wonderful about Mountain Fiber Folk? I walked in there that first time knowing nothing about handspun yarn, and walked out completely moved. Next time we went, I left with a drop-spindle that Ruth so generously helped me to figure out.

SR: It sucks you in! If you talk to Michael (Hampton Fiber Mill), he’ll talk about how he learned to knit from his grandmother, and then from there, he learned to spin, and then the next thing you know, he wanted to process fiber!

For me, I can tell you all about breeds and good wools for different projects! For some reason, I can retain this information. Who knew? I make the comparison to my father; he’s really into physics and he starts talking about it and everyone glazes over, but he’s so passionate about it. My sister says I’m like our dad….”you and the sheep, man!” I get so excited about it and want to talk about it, but nobody cares! That’s why it’s so great to get together with other fiber people who get it!

HH: I have to ask this… I know for me, I get around handspun yarn, and I must smell it. I can’t help myself. It’s an automatic thing I do. Do you do that?

SR: No, I don’t smell the wool, but I love to touch it and see the luster and sheen. I want to feel the coarseness of it. I don’t mind the smell of lanolin or raw wool at all. I do have to say, I don’t like skirting at all. There’s a big thing about not using chemicals to get the veggie matter out of fleeces. Well, you don’t have to use chemicals. You just have to be really detail oriented and pick the stuff out! The fiber you and I put out, it’s clean! But you’ve seen the fiber that has a ton of vegetable matter in it!

HH: You have to front load time and effort into preparing the wool. That’s the invisible work. There’s so much dirty work. And you can’t use “chemical free” as an excuse for not being careful with your product.

SR: It was the experience of paying for roving that was filled with veggie matter that really pushed me into preparing my own wool. Now I’m selling kits and supplies and it’s kind of exploded!

HH: What’s your favorite thing to do now? If you’re looking to spend the day however you want, what would you do?

SR: Making a hat. Making whatever kind of hat I want and not worrying about it if it turns out.

HH: What’s your favorite hat you’ve made?

SR: I have two: the felted Gnome Noggin hats, and the Ratagast hats. I love those two. Those are original designs. I make my hats with wool that some would not use for that purpose, but I line them with fleece. You know, I think I’m different than a lot of felters because I think merino is overrated.

HH: What fibers do you like to work with right now?

SR: Border Leicester, Gotland, Romney and Icelandic. With Icelandic- if you take the time to separate out the outer and inner fibers, the under coat is just as soft.

HH: Did you do handwork when you were young?

SR: No. My entire family is like, who knew?! I think what it was is I was never interested in the packaged craft kits available for children when I was young. I was always into the arts, but not in a very public way. I did win a poetry slam when I lived in the Carolinas and I was always around artists and musicians. I did do a lot of theater, too. But it wasn’t until I found felting that I found my medium. I did teach myself how to sew and knit, and I had the ability to put things together, but this really was the first medium where I knew what to do with it without having any prior introduction.

HH: What’s on the horizon for you? Anything you are looking forward to tackling?

SR: I want to fool around with very freeform clothing. I took with Linda Veilleux that was incredible; she’s an amazing artist. I am not as meticulous as she is, and I am learning why it is important to take careful measurements, but I want to play around with shapes and turn them into wearable, freeform clothes. I’m not really interested in making vases. It needs to be wearable or functional. If I’m going to do a sculpture, I’m going to needle felt it. I do like the idea of marrying wet felting and needle felting. Anita Larkin is a wonderful artist~ she stitches pieces together and wet felts them. Those types of ideas are interesting, but I’m also figuring out how to support my habit.

HH: So, you’re done with the holiday fairs…

SR: Yes, but I’ll be at the Stowe Renaissance Fair in the spring. I’m going to make hats for that.

HH: I know where I’ll be seeing you in the spring! I love a good Renaissance Fair and seeing your hats, and you!

Check out Susi’s links to her Etsy shop, her Facebook page, and her website. She keeps them up to date on where she’ll be and what classes she’ll be teaching.

Thank you, Susi, for taking the time to talk with me!

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