• We sat around Sharon’s table in November and talked about this; we wrote it in our books and scheduled around it for months; and then we discussed logistics for weeks ahead of time.
    And yet… it still seemed unbelievable that we were going to go away to a beautiful place to study weaving with a master and collaborate on an awesome project for an entire week.

    Sharon, Martin and I drove up with the Weaving Wagon chassis and Sharon’s bike in the back of my truck — yes, it would have been cool to have biked up and all, but it would have taken us two days each way, leaving only three for weaving. Geoff, hale and hearty, showed us how it’s done by riding his bike all the way from Vancouver to Hornby in one day — and even stopping off at the Metal Supermarket in Nanaimo on the way.

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    As it turned out, we needed all five weaving days: the first day was slow as we discussed the design of the wickerwork, and then Alastair started training Sharon and I to weave flat… and straight… and square… while he and Geoff and Martin started work on the fittings we needed to get the willow panels onto the metal chassis.
    Then we worked 10-12 hours on the next four days in a row, and were darn lucky that both Martin and Geoff were there too. Geoff came prepared to fiddle with the details of the interface between the weaving and the metal work, but he had to leave after two days; and without Martin — whose official role on the project is film documentary, but is such a polymath (and the son of a machinist) that he was indispensable in drilling and fitting parts — I don’t like to think about how long those last two days may have been.20170525_205933-COLLAGE

    Not to say we didn’t have a few good laughs — Geoff scored a new bathrobe at Hornby’s legendary Free Store, and we all got a kick out of Sharon vacuuming aluminum filings out of the lawn (notoriously house-proud). Martin put in  his time at the drill press, but was able to get out and see a lot of the island, and come back to tell us about it. I didn’t mind not seeing much of the island — I was there for the weaving anyway.

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    By Sunday evening we were in the final stretch: ranging on the last side panel; the aluminum reinforcing bar put in place; bordering off; and then just the cable supports for the side panels being difficult.

    AT LAST — the test rides. Assessment: good.
    We packed it back on the truck in the gathering gloom under the trees — and though Alastair’s preternatural eye for perfection seemed to be even BETTER in the dark (he saw that I had unwittingly switched from a 3.1 to a 2.1 border on one panel) — we were pleased.20170528_145403-COLLAGE

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    Back in the city, the Weaving Wagon is turning out to be everything we’d hoped for in a pop-up studio/ pick-up truck/ tea service cart, and we’ve already had it out about three times in the first week since we’ve had it. We already have more grand plans for accessorizing it….

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  • If doing more weaving is on your summer bucket list (you have to practice, after all, if you want to be able to make yourself an awesome hat like us) then check in with our Calendar — we’ll be hosting free drop-in Open Studio Weaving Circles starting June 20, 6-8:30pm.

    Bring your own projects, supplies & tools, or join in a collaborative project, and come to share skills and good company with other makers.

    Can’t make it on a Tuesday? no problem… the Open Studio nights shift around every week, so check the calendar

  • Steel or aluminum? What kind of wheels? brakes? feet? hitch? bottom panel? We want it to be “visually stunning”, but we also need it to be light, and durable, and safe, and reasonable to take out in the rain, and be able to hold tools and materials, and what will happen when we load it with willow standing upright, and shouldn’t the side panels fold down like counter space for tools and tea service….?

    With researching and sourcing parts and materials, Geoff has been under pressure — the chassis has to be ready for us to take to Hornby in late May, for our scheduled week with Alastair. The number of design decisions involved in making a ‘first-of-a-kind’ is daunting; and we’ve all had to come to terms with the fact that there are many things we can only guess about, because we have no experience to guide us. Alastair also has a very practical mind, as well as experience with welding and metal fabrication, so he and Geoff have been able to talk through many of the finer points via email threads (which were semi-comprehensible by Sharon and Rebecca).

    Geoff did all the cutting and Sharon helped with sanding the aluminum pieces for the frame. Geoff was pleased to get the chance to work with Toby’s Cycle Works for bending the aluminum top bars, and with an aluminum welder (a lady welder!) for the welding.

    I think it’s a tribute to Geoff’s precision in cutting that it only took 2 hours to complete all the welding — and a tribute to the welder that the tidiness of the joints was one of the first things that Alastair commented on 😉

     

  • 20170513_102124-COLLAGEWe exhausted all our leads to find someone with a very tame, easy-going pet sheep to come in for a shearing demo, so we could host our very own ‘sheep to shawl’ event for FORAGE (yes, that’s a real thing). We did finally meet someone with a friendly sheep; but in the end, a shortage of good skilled shearers scuttled the project. Thank you to our friends who expressed concern for the animals

    Then we had a light bulb moment: we’re ‘gleaners’, why not focus on what we have around us?

    So in the morning, Nicola led a great class on skirting, picking and washing sheep fleeces, as well as spinning on a drop spindle; and then we spent the afternoon exploring the wonders of the URBAN fibre shed: dogs, horses (hair from the race track), and even some guinea pigs!

    Below is the flyer that we made to promote the ‘Community Groom & Spin-Along’

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    As always, big gratitude to our friends at Vancouver Parks and Recreation.

  • 20170408_104129_HDR-COLLAGEThe FORAGE April: Yellow Flag Iris (Iris pseudacorus) workshop could have been billed as ‘underwater basket weaving’ – but man did we have fun!! Thanks to the 12 brave souls who came and cut back invasive yellow flag iris and harvested roots for dye. And special thanks to Kari and Stanley Park Ecology Society, and Vancouver Park Board!

    The growing season here has been so delayed by the months of snow and freezing temperatures, and the steady rain and cooler temperatures throughout March and into April, that most of the iris is only about half as high as it usually is at this time of year. It’s a bit like ‘limp celery’ right now, but we trust that it will be nice for weaving once it’s been dried and then resoaked. The late summer and early fall is the best time to gather the leaves for weaving, when they are as long and fibrous as they’re going to get; but since our foraging needs to dovetail with the existing invasive-species management practices of the stewards of the land, the spring is when we often find ourselves gathering this generous (albeit unwelcome) plant. Scroll down the Video Resources Page to find the video about yellow flag iris produced for the Urban Weaver Studio Project.

    In place of the green iris leaves, which are too fresh to use for weaving right after harvest, we practiced twined basket starts using English ivy (Hedera helix) on red osier dogwood sticks. Red osier dogwood (Cornus stolonifera) is an indigenous species that’s often planted in parks as part of perennial landscaping because of its gorgeous red limbs. According to Nancy J. Turner, it was a traditional weaving material for many of the First Nations of British Columbia, especially favoured for food implements and fish traps and weirs. Clippings can often be found at this time of year as the plants are pruned back.

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    Twelve hearty and brave souls came to work with us for our first FORAGE: Seasonal Fibre Series date on March 8, and had the bonus of an indoor space last minute! (Little did we know at the time that March rainfall would break records…)
    The day included harvesting English ivy, splitting, debarking, making rope and a quick intro to the Turks Head knot — an intriguing new skill shared with us by new friend and ancestral skills practitioner Michael Mayer, and something we’ve never tried before with ivy.
    Sharon’s work with English ivy as a medium began in 2009, with her partnership with the Stanley Park Ecology Society on The Ivy Project, a restoration initiative partly in response to the devastating windstorm in the winter of 2006. English ivy became the focus of the Urban Weaver Studio Project at the MacLean Park Fieldhouse 2012-2015, one of Vancouver Park Board’s most successful Fieldhouse Residencies. The Urban Weaver Studio quickly consolidated a nucleus of committed artists and weavers; EartHand’s artistic director, Rebecca Graham, first met Sharon at a Saturday afternoon session, and there are many more examples like this. Though activity has fallen off in recent years, the Urban Weaver Facebook Group includes over 250 members; most of us are local, but we also have some weavers from elsewhere, including internationally renowned Tim Johnson from Europe — who once said that he found it ironic that we have so much ivy that we throw it away, because it’s one of his favourite weaving materials!
    Though the Urban Weaver Studio Project closed at the end of its Fieldhouse term, the spirit of inquiry and relationship with English ivy continues through EartHand and projects such as FORAGE: Seasonal Fibre Series. Special thanks to Kari and Stanley Park Ecology Society for hosting us, and Vancouver Park Board Arts Culture and Environment Department for supporting the program.

    The next FORAGE: Seasonal Fibre Series is April 8th in Stanley Park, exploring Yellow Flag Iris — reserve your spot on Eventbrite.

  • Skipper Otto’s Community Supported Fishery is one of our partners for the Land & Sea project; Sonia Strobel, co-founder and Managing Director, recently forwarded this to us, an excerpt from Nick Claxton’s writing about his community’s successful reef net fishery revival:

    The WSÁNEC people successfully governed their traditional fisheries for thousands of years, prior to contact.  This was not just because there were laws and rules in place, and that everybody followed them, but there was also a different way of thinking about fish and fishing, which included a profound respect.  At the end of the net, a ring of willow was woven into the net, which allowed some salmon to escape.  This is more than just a simple act of conservation (the main priority and narrow vision of the Department of Fisheries and Oceans).  It represents a profound respect for salmon.  It was believed that the runs of salmon were lineages, and if some were allowed to return to their home rivers, then those lineages would always continue.  The WSÁNEC people believe that all living things were once people, and they are respected as such.  The salmon are our relatives.  … Out of respect, when the first large sockeye was caught, a First Salmon Ceremony was conducted.  This was the WSÁNEC way to greet and welcome the king of all salmon.  The celebration would likely last up to ten days.  … Taking time to celebrate allowed for a major portion of the salmon stocks to return to their rivers to spawn, and to sustain those lineages or stocks.

    Nicholas Xumthoult Claxton, “ ISTÁ SĆIÁNEW, ISTÁ SXOLE: ‘To Fish as Formerly:’ The Douglas Treaties and the WSÁNEĆ Reef-Net Fisheries.” In Lighting the Eighth Fire: The Liberation, Resurgence, and Protection of Indigenous Nations, ed. Leanne Simpson. Winnepeg, Arbeiter Ring, 2008. 54-55.

    If you are interested to learn more about First Nations perspectives on fisheries, please visit the extensive site for Indigenous Foundations at UBC

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    Cold raw skin… icky, slimy, smelly.
    But warmed with careful hands and a heartfelt gratitude for the animals’ lives, and for the heritage and wisdom of our ancestors and those who shared their knowledge with us, that same flesh is both transformed, and transformative.

    Thanks to Karen for providing us with the fish skins, waste from a commercial kitchen which turned out to be the perfect-sized project for a bunch of novice tanners on a cold February day.
    And thanks to Nicole for generously and sensitively sharing with us the knowledge that she has been entrusted with.

    Thanks to all who were part of our first Hide Tanning Circle; together we crossed a threshold that is particularly potent for us, living in an urban environment where cycles of life and decay, animal, vegetable and mineral are partitioned, or absent altogether.

    I look forward to seeing you all again for our next Circle — sheep hide is soaking in the bark tan bath now!

  • What brought you here? Are you a gardener or a spinner already, or are you new to it? Where are you going to grow your flax?
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    Turns out that we’re a mix of growers and makers, and will be growing our flax at sites all over Coast Salish Territory and beyond; we’ll have a tremendous diversity of stricks to add to the linen reference library at the end of the season. Flax is easy to grow and very forgiving of a range of conditions; but the colour, length, and qualities of the fibre are all affected.

    Many folks in the class were new to the practice of spinning; we started off with brand-new drop spindles and beautifully prepared linen tow sliver from Taproot Fibre Lab in Nova Scotia. Sharon taught the basic ‘park and draft’ technique, and we owe thanks to Penny and Billy for volunteering to join us in our large group to work with folks individually as needed. Rebecca, who started spinning three years ago, brought her spinning sample collection to prove that practice does indeed pay off over time.

  • Almost thirty years ago in 1989, Mavis Atton’s book Flax Culture: from flower to fabric was published by Ginger Press, a chronicle of Atton’s experiments growing and producing hand spun flax in Georgian Bay, Ontario. A few years later, Linda Heinrich of Vancouver Island wrote The Magic of Linen, a result of the extensive research she did for her Master Spinners Certificate; this book is still the go-to reference for growing, processing and spinning linen by hand and its second edition, retitled Linen: from flax seed to woven cloth, was released in 2010.

    Pat Davidson, a spinner on Saltspring Island, has been growing flax for linen since the 1990’s and was a key mentor both for the Victoria Flax to Linen group and for us in Vancouver. The Victoria group began growing flax for linen in 2010 as part of the Transition Victoria movement; subsequently, the project took on a life of its own and the group became Flax to Linen Victoria, with their own website and a very active Facebook page that draws members from around the world.

    In late 2012, Penny Coupland applied for and received a Vancouver Foundation Grant to buy seed and inputs to grow flax for linen and hire another maker to build the processing equipment here in Vancouver. Starting in 2013, partnering with Caitlin ffrench, they grew flax at Means of Production Garden and at the MacLean Park Fieldhouse and blogged about it as a ‘grow along’ for the Urban Weaver Studio Project; Penny later moved the blog to Urban Cloth Project. Concurrently in 2013, Caitlin and Sharon Kallis grew flax as the Aberthau Flax=Fibre+Food Project at West Point Grey Community Centre; and Julia Ostertag, a PhD student in the department of Curriculum and Pedagogy at UBC, grew flax as part of her thesis. Sharon and Julia both visited the Flax to Linen Victoria group for mentorship in growing and processing; and Sharon also connected with Pat Davidson.

    Sometime around then, Patricia Bishop at Taproot Farms in Nova Scotia began her quest to also address local fibre needs by recreating small-scale fully mechanized flax-to-linen processing equipment; Taproot Fibre Lab now runs a small linen-processing mill and builds their equipment for sale.

    In 2014, Rebecca Graham and Brian Jones took over the Flax=Fibre+Food Project, growing more ‘Marylin’ variety and also several varieties of wheat and oats for traditional wheat weaving. Rebecca and Sharon visited with members of Flax to Linen Victoria again, and Rebecca connected with Julia Ostertag from UBC. Sharon Kallis, Tracy Williams and Mirae Rosner, inspired by a comment from a participant in the flax projects, expanded their focus on the idea of ‘urban cloth’ in the Terroir: Urban Cloth Project.

    EartHand continued to grow flax at Trillium North Park and to mentor others in flax growing through 2015 and 2016. Susan Gerofsky at UBC Orchard Garden, the site of Julia Ostertag’s project, also continued to grow flax. Using daughter seed from the 2014 ‘Marilyn’ crop at Aberthau Flax=Fibre+Food, Rebecca grew a 10×10 plot of flax at a friend’s farmstead outside of Squamish in 2015; and, using the granddaughter seed, another plot at the Fraser Common Farm in 2016. All those crops have been successfully retted and processed into stricks, and spinning is underway. EartHand maintains a flax ‘reference library’ of sample stricks representing each crop year and location.

    In 2017, EartHand launched the Linen Growers’ Club, a closed cohort of growers and makers who will meet monthly from March through September to grow flax at their own sites and process it into linen together.