redux: blue days

Today, three years after this post, I’m clearing the (figurative) decks to prepare for another indigo dye session out on the big cedar bench by my garden. Sometimes I read back to see how I did things and to remember how much I loved the process, even the days of blue hands afterwards…

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windows.jpg

In early June, I wrote of my delight in finding Memory on Cloth: Shibori Now, Yoshiko Iwamoto Wada’s marvellous exploration of shibori, or shaped-resist dyeing. I’ve done a little of this in the past, in a very amateur and careless way, and I’ve had some jars of indigo waiting for the right moment to try it again. I prepared some cloth (old sheets, some scraps of rough white linen left over from curtains, a worn damask table-cloth), trying as many techniques as I could, and then waited for the right time. Some were bound with string and elastic bands (kanoko); some were stitched (karamatsu or larch); one was wrapped and then ruckled on a piece of pipe for arashi, or storm; and one had pebbles from Trail Bay in Sechelt tied into it for kumo. Preparing cloth and dyeing it is a meditative process, like quilting — or at least it is for me. In a way, it’s thinking with my hands. So the time has to be right. And in Memory on Cloth, Wada writes:

Shibori recognizes and explores the pliancy of the textile and its potential for creating a multitude of shaped-and-resisted designs. When the cloth is returned to its two-dimensional form, the design that emerges is the result of the three-dimensional shape, the type of resist, and the amount of pressure exerted by the thread or clamp that secured the shape during the cloth’s exposure to the dye. The cloth sensitively records both the shape and the pressure; it is the “memory” of the shape that remains imprinted on the cloth. This is the essence of shibori.

Yesterday I dipped my prepared pieces into the dye vat. The process is magic. The dye itself is a kind of swampy green. The fabric turns pale yellowy-green and only becomes blue when it’s exposed to air. So you dip and then let the pieces oxidize; then you dip them again. The more times you do this, the darker the finished dye. I did 4 dips of about 20 minutes each, letting the pieces rest for half an hour on a long bench of rough cedar in-between their visits to the vat. One of the pieces, the damask table cloth, was wrapped around a piece of pvc pipe with cotton string, too long for the dye vat, so it had its own basin of dye and had to be turned regularly to allow it to take the colour evenly.

in the dye.jpg

There was time to do some watering in the nearby vegetable garden while the various pieces were soaking or else resting.

all tied up.jpg

I picked kale and made a green pie for guests who were coming to dinner. I made sourdough bread. And for each step of the dyeing process, I tried to lose myself in the fabric. If the cloth records the shape and pressure of thread and clamps, what does it remember of its worker? That she is flighty? That she was thinking of a sad member of her family too far away to truly comfort? That she wondered if she’d added salt to the bread dough? Never mind. I did my best, I think.

There are differing opinions as to what you should do when you’ve finished the last submersion. Some people advise you to rinse your pieces immediately and let them dry on a line. Others suggest letting the pieces oxidize for 12 or 24 hours to set the dye completely before you rinse them and then wash them in a mild soap. Because we had friends coming for a swim and dinner, I chose to let mine sit overnight on the cedar bench. And this morning I went out at 7 to snip the threads, the elastic bands, the string, and to remove the beach stones from the square of linen. There was very loud noise on the other side of the vegetable garden and I eventually realized it was a whole family of pileated woodpeckers, the young having just learned to fly. They were flapping around awkwardly and making the most comical noise while the parents scolded and encouraged. And mosquitoes kept stinging the small of my back.

But what pleasure to lay each finished piece out on the grass! Each a surprise! I’d wondered when I was awake in the night if I’d bound pieces tightly enough, if the dye would somehow penetrate the thin pieces of wood I’d used for the itajimi pieces (you pleat the cloth, then fold it and clamp it or use elastic bands to keep it place between two pieces of wood). A more careful person would have more interesting results, perhaps, but I have to say I love what shape and pressure created, how the cloth remembers its time as a three-dimensional object. You can see the itajimi in the photograph opening this post. Here’s the damask tablecloth remembering the storm:

arashi

And my favourite might be this, the rough linen shaped by beach stones from Trail Bay:

kumo.jpg

I expected a darker blue, given the number of times I dipped each piece. (The intensity of colour comes from the number of short dips rather than a long sustained soak — or at least this was what I gathered from the numerous things I read about indigo dye.) But maybe my indigo was old or weak. Anyway, it’s a ravishing blue.

And what the cloth remembers, I will remember too — gathering the stones, sewing the circles that became the growth rings of larch, tying cotton string as tightly as I could. And the cloth and I will also remember the raucous sound of adolescent pileated woodpeckers finding their wings, learning what a voice sounds like in open air, in the morning, before the heat begins.

blue days

windows.jpg

In early June, I wrote of my delight in finding Memory on Cloth: Shibori Now, Yoshiko Iwamoto Wada’s marvellous exploration of shibori, or shaped-resist dyeing. I’ve done a little of this in the past, in a very amateur and careless way, and I’ve had some jars of indigo waiting for the right moment to try it again. I prepared some cloth (old sheets, some scraps of rough white linen left over from curtains, a worn damask table-cloth), trying as many techniques as I could, and then waited for the right time. Some were bound with string and elastic bands (kanoko); some were stitched (karamatsu or larch); one was wrapped and then ruckled on a piece of pipe for arashi, or storm; and one had pebbles from Trail Bay in Sechelt tied into it for kumo. Preparing cloth and dyeing it is a meditative process, like quilting — or at least it is for me. In a way, it’s thinking with my hands. So the time has to be right. And in Memory on Cloth, Wada writes:

Shibori recognizes and explores the pliancy of the textile and its potential for creating a multitude of shaped-and-resisted designs. When the cloth is returned to its two-dimensional form, the design that emerges is the result of the three-dimensional shape, the type of resist, and the amount of pressure exerted by the thread or clamp that secured the shape during the cloth’s exposure to the dye. The cloth sensitively records both the shape and the pressure; it is the “memory” of the shape that remains imprinted on the cloth. This is the essence of shibori.

Yesterday I dipped my prepared pieces into the dye vat. The process is magic. The dye itself is a kind of swampy green. The fabric turns pale yellowy-green and only becomes blue when it’s exposed to air. So you dip and then let the pieces oxidize; then you dip them again. The more times you do this, the darker the finished dye. I did 4 dips of about 20 minutes each, letting the pieces rest for half an hour on a long bench of rough cedar in-between their visits to the vat. One of the pieces, the damask table cloth, was wrapped around a piece of pvc pipe with cotton string, too long for the dye vat, so it had its own basin of dye and had to be turned regularly to allow it to take the colour evenly.

in the dye.jpg

There was time to do some watering in the nearby vegetable garden while the various pieces were soaking or else resting.

all tied up.jpg

I picked kale and made a green pie for guests who were coming to dinner. I made sourdough bread. And for each step of the dyeing process, I tried to lose myself in the fabric. If the cloth records the shape and pressure of thread and clamps, what does it remember of its worker? That she is flighty? That she was thinking of a sad member of her family too far away to truly comfort? That she wondered if she’d added salt to the bread dough? Never mind. I did my best, I think.

There are differing opinions as to what you should do when you’ve finished the last submersion. Some people advise you to rinse your pieces immediately and let them dry on a line. Others suggest letting the pieces oxidize for 12 or 24 hours to set the dye completely before you rinse them and then wash them in a mild soap. Because we had friends coming for a swim and dinner, I chose to let mine sit overnight on the cedar bench. And this morning I went out at 7 to snip the threads, the elastic bands, the string, and to remove the beach stones from the square of linen. There was very loud noise on the other side of the vegetable garden and I eventually realized it was a whole family of pileated woodpeckers, the young having just learned to fly. They were flapping around awkwardly and making the most comical noise while the parents scolded and encouraged. And mosquitoes kept stinging the small of my back.

But what pleasure to lay each finished piece out on the grass! Each a surprise! I’d wondered when I was awake in the night if I’d bound pieces tightly enough, if the dye would somehow penetrate the thin pieces of wood I’d used for the itajimi pieces (you pleat the cloth, then fold it and clamp it or use elastic bands to keep it place between two pieces of wood). A more careful person would have more interesting results, perhaps, but I have to say I love what shape and pressure created, how the cloth remembers its time as a three-dimensional object. You can see the itajimi in the photograph opening this post. Here’s the damask tablecloth remembering the storm:

arashi

And my favourite might be this, the rough linen shaped by beach stones from Trail Bay:

kumo.jpg

I expected a darker blue, given the number of times I dipped each piece. (The intensity of colour comes from the number of short dips rather than a long sustained soak — or at least this was what I gathered from the numerous things I read about indigo dye.) But maybe my indigo was old or weak. Anyway, it’s a ravishing blue.

And what the cloth remembers, I will remember too — gathering the stones, sewing the circles that became the growth rings of larch, tying cotton string as tightly as I could. And the cloth and I will also remember the raucous sound of adolescent pileated woodpeckers finding their wings, learning what a voice sounds like in open air, in the morning, before the heat begins.

the rainy day arrived

For ages I’ve been planning a big project, a dye project, and have been waiting for a rainy day to begin the preparations of cloth. The actual dye vat will be set up outside and for that I will need clear weather and an empty clothesline to hang the results. But in the meantime the lengths of cloth have to be folded and stitched and clamped and tied. Today it’s raining. I’ve put writing work aside — though in truth the actual sense of inspiration, of excitement at the prospect of working with familiar materials in order to make something new of them, with them, is similar in both cases.

I’m a long-time quilter, though I always qualify that by admitting that I’m not very good at it. I love textiles, I love the sense of having my hands filled with cloth, love the meditative work of hand-quilting a large surface, making something slightly three-dimensional out of layers of fabric sandwiched together. I’ve taken to embellishing my quilts with shell buttons, in homage to the button-blanket makers of the Northwest Coast, who used abalone for its ability to catch firelight and create mystery. I always think of a quilt as the end-product of a process and for me the process, the quilting itself, is the best thing about it. I also like that the end-product is not only something practical — I make quilts that are bedcovers, with one exception (and that’s the “Euclid’s Orchard” quilt I made for my son Brendan and it’s kind of stiff with theory and mathematics, more a wall-hanging that a cosy blanket) — but also a repository for the thinking I do while stitching.

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I am drawn to indigo and the various shibori techniques associated with Japanese textiles. I’ve worked with indigo a little and have attempted some of the shibori and although my results were very rough and clumsy, I loved the process. I had something in mind — fish swimming in indigo water — and used batik as well as buttons to add to the shibori resist stitching (to create a watery effect).

P1070361.JPGbutton fish.JPGmaterials for fish quilt.JPG

I’ve been reading Yoshiko Iwamoto Wada’s extraordinary Memory on Cloth: Shibori Now, which has me so excited about trying some new techniques. The book looks at the history of shibori, its relationships across cultures, possible connecting threads between traditions as geographically removed from one another as South America and Tibet, and how textile design reflects our connection to the natural world.

Shibori is a Japanese word that refers to a variety of ways of embellishing textiles by shaping cloth and securing it before dyeing. The word comes from the verb root shiboru, “to wring, squeeze, press.” Although shibori is used to designate a particular group of resist-dyed textiles, the verb root of the word emphasizes the action performed — the process of manipulating fabric. Rather than treating cloth as a two-dimensional surface, shibori techniques give it a three-dimensional form by folding, crumpling, stitching, plaiting, or plucking and twisting. Cloth shaped by these methods is secured in a number of ways, such as binding and knotting.

Shibori recognizes and explores the pliancy of the textile and its potential for creating a multitude of shaped and resisted designs. When the cloth is returned to its two-dimensional form, the design that emerges is the result of the three-dimensional shape, the type of resist, and the amount of pressure exerted by the thread or clamp that secured the piece during the cloth’s exposure to the dye. The cloth sensitively records both the shape and the pressure; it is the “memory” of the shape that remains imprinted in the cloth. This is the essence of shibori.

— from Memory on Cloth

I have the materials all ready, even a length of old pvc drain pipe which I’ll cover with a sleeve of fabric to create the resist technique called arashi. I found some lengths of raw silk I’d bought years ago, very cheaply, waiting for the right occasion. They’re not white but I think they’ll take the dye nicely. (I have both indigo and woad.) And the other fabric I’m using is a collection of plain white heavy cotton sheets for single beds (the single beds my brothers and I slept in as children), taken from my mother’s house after she died. They too have been waiting for the right occasion, memory already contained in their plain surfaces.

rainy day.jpg