Production
I weave on a standing frame that is fixed to the wall. This way it gives me an opportunity to watch the design composition unfold with every new thread that I weave, hour after hour with care. First, I place a design behind the frame, then, delicately stretch in a warp thread.
With great respect for respect traditional craftsmanship, I use tapping yarn to „paint“ my tapestries combined with the most traditional of movements. The best quality tapestries come from 100% sheep wool, and I only use the highest quality sheep wool, which I then colour by hand as needed. Before the weaving process begins, it is necessary first to break the hank and prepare the material for work. It’s important to catch every detail and imperfection during the weaving process. So for this reason I only weave during daylight, this gives me a chance to detect any undesirable colour spots that might go unnoticed during the change in light during the evening or can’t be seen under artificial lighting.
Technique of weaving
I always use cartoon for my work – that is the design which is placed behind the weaving loom. I try to delicately transfer the image on the intentionally made cartoon to my weaving. I inweave the woollen weft into the stretched cotton warp under different angles, through which I try to copy the base drawing. I pass the weft under every second warp thread which ends at the place where the certain colour spot ends, and I go back to it again. When weaving, I put the weft one very close to another in a way that the warp is completely hidden. The warp is in a single colour and the pattern is created only by the colourful weft. In the course of my work, I can choose from a variety of options for techniques and methods to use, how to work with volumes and how to achieve certain desired effects, and these things are then reflected in the final piece of art which went through these processes, gaining its own individual expression.
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