I've already geared this year toward what would in theory include a slow paced, meditative art practice by committing to the slowest type of weaving: tapestry (on my new loom).  Most recently though I've reacquainted myself with printing with natural dyes and I'm hooked.  Here's the thing about these two practices, they are very labor intensive and require an immense amount of patience.  Yet, when I'm in process I am charged with energies that I sometimes forget exist in me.  That's when I know I'm on the right path: I can't sleep, nor do I remember to eat (Both those side effects are usually short lived though, and are actually a welcome change from those same effects coming from a different source, hint: "Whah!")  

The process of printing with natural dyes is complex, and I might add not the most efficient.  So much so that I'm quite sure any natural prints I make will invariably be a part of art installations as opposed to sold as garments or home textiles - I just couldn't put a retail price on them (note this is different from natural dyeing or eco-printing -- those I make to sell).  The process takes weeks to complete!  If a stranger were to ask me how I made the pictured yardage I'd tell them I stenciled natural dyes onto silk.  Sounds simple right?  But first I extract the dyes from woodchips and thicken them with guar gum.  Before that I mordant the silk (a one-day process) and then size it with soy milk that I make from scratch (another whole day).  Then I print (or stencil in this photos' case) the dyes onto the silk and wait for it to dry completely before steaming the entire yardage.  Now I wait at least three weeks for the soy sizing to cure before I rinse it and use it for who-knows-what.  As intense as that is I love every single second and can't wait to start the process over again.  Of course a great way to make the process more efficient is to mordant a lot of fabric at once for future use.

Janna

PS This yardage was only possible because my amazing mom babysat for several days while I made it.  Thank you Mom!

This winter has felt especially long, I think because we are getting to know a new city, so we're not yet aware of all the inside activities that are available, nor do we have many friends (to visit).  So, we've been spending a lot of time inside our apartment.  At the end of one especially stormy week (we must have spent 3 full days inside) I was determined to get out of the house, and I thought it might be fun to entertain Sam with fabric in the wind.  I think I had more fun playing with the silk than he did watching me.  

This installation re-contextualizes my 2010 shag dress as an Egoskeleton.  It's a play words, yes, which I pretend to shy away from but find myself going back to, hehe.

In spiritual terms the ego often refers to the over-identification with the mind and the shedding of the ego, or realizing presence, is what Hinduism refers to as enlightenment, Buddhism, the end of suffering, and some Christ followers, salvation.  This piece is about successfully shedding the ego, if only temporarily, the remains seeming not unlike an exoskeleton.

I'm really happy with this use of the shag dress.  Last year I photographed it just laying around my house and was really fond of how it looked laying face down.  The back of the weaving is interesting, so I love being able to see it too.  So, when I started brainstorming as to how I would depict the idea of the ego being shed it was obvious that this was meant to be used for it.  It's so bright and showy after all.

I'm also interested in seeing it exhibited hanging upside down from a cord, as a kind of reference to the throwing of shoes on telephone wires to commemorate victories or large life accomplishments.  Yesterday I photographed it in this way, and as per usual I favoured the detail shots.  This is one of my faves (below)

Here are some shots of the fabric I've been working into this month.  There will be a lot more added to this falling sweater, including some subtle leaf prints and maybe even some goldleaf.  The falling sweater was printed with brazilwood and logwood and the full falling series is 5 vertical prints on 136 inches of silk

This finished piece will be shown at Eastern Bloc starting March 30th, 2012

photos by Riley Sparks

Update March 23rd:  Shortly after this post I accidentally ruined this fabric in a contaminated pot.  I was pretty sad at first, but the more I look at the photos the more I think the piece had already been resolved at this point.  So now I'm just glad I have these great photos.  For the show on the 30th I'll be showing the second part of this series which will be a lot different and feature a sound element.