There is a lot of joy in getting together with a group of people who love the same things you do. I think we can safely say the people who came to my Taos retreat this month love yarn. Everyone has a different reason for weaving tapestry and those differences are always interesting for me to observe and ask about when I’m teaching. But generally we can all come together around the love of creating and yarn.

In the workshop this month I had a lot of different approaches. One student was motivated to study tapestry for historical and sociological reasons related to her family and their place or origin. Another student was very interested in Norwegian weaving and using that style to express personal images. Someone else was working on recovery from the death of a spouse and the feelings of loss and recovery that brought up. There were students who were interested in three dimensional tapestry, depicting water, interpreting dreams, interpreting life events, or working from inspiration other tapestry artists’ work brought them.

The week before last I was back in Taos teaching at Mabel Dodge Luhan House. We had a lovely week of tapestry weaving with a group of alumni, most of whom come back every year.

This retreat focuses on the design questions of the participants. This year I added another component and some of us looked at how to make vertical forms or lines in tapestry. Some of the participants used these ideas in their tapestries or samples for tapestries.

Making vertical forms in tapestry weaving is a challenge because we’re working on a grid and all vertically-oriented shapes have to go against that grid to build upward. That means that tapestry has a very stepped appearance. This is the nature of this art form and in a lot of cases I encourage students to embrace that.

But most of the time we want to make a stable textile and so all the regular factors of technique and materials come into play when weaving vertically oriented forms. During the retreat we talked about using techniques like double weft interlock, various other joins, sewing slits, using slits to suggest vertical lines, and other means of making marks that read as vertical lines.