Natural dyeing – a workshop with Jeanette Schäring and a glimpse of my personal journey

Jeanette Schäring´s works of art and materials at the workshop (May 2013). Photo: slow creations

Jeanette Schäring: shibori (resist-dyeing) at the workshop (May 2013). Photo: slow creations

Jeanette Schäring´s works of art and materials at the workshop (May 2013). Photo: slow creations

As many others, I first encountered plant dyeing in the 70s and, for me, 80s. I clearly remember going with my mum to courses and afterwards starting our own dyeing, boiling plants on the beach at the summerhouse on Gotland. I remember the plant collecting, the smell from the cooking, the feeling of community and of course the results (still have some yarns left…).

Since some years now, there is a growing awareness of the dangerous effects that conventional textile dyeing has on the environment and health of the textile workers as well as wearers. One response to these facts is to take up natural dyeing, an usually slow and transformative process. 

The methods of natural dyeing has been renewed since the 70s-80s. Many artists and independent fashion designers (as well as a few highly commercial labels such as Levi´s Made and Crafted (as far as I can see focusing on indigo) work with different processes of transforming this aspect of nature and its mysteries to textiles and clothes. 

Usually, rather mild mordants are being used (in comparison to the earlier often harsh methods of the 70s-80s) and some doesn´t use them at all, relying on the process itself and also maybe not in need of colour fastness (for example in some textile art works) – or striving for that (instead pursuing the process, patina and beauty of “aging” textiles). Sometimes artist and designers also work with additions as rust (as in rust water or rusty objects) and other matter such as bicarbonate and sour things such as lemon juice that change and add to the colour effects.

Rust as dyeing component. From a workshop by Jeanette Schäring. Photo: slow creations

My own old new interest and fascination of natural dyeing began with inspiration via fiber artist Abigail Doan, one of the now active most important, generous and inspiring artists for me, and her network, for example Sasha Duerr, founder of Permacouture Institute. I started experimenting after buying Duerrs´s book this winter. I also saw works by Swedish artist Jeanette Schäring at the exhibition The National Association of Swedish HandicraftSocieties 100 years (see for example my previous post)  and was astonished. I just could not forget her art works! They were truly mysterious, beautiful at the same time as they were a bit strange and with a very special feeling. I dreamed of one day to have some sort of contact with Jeanette... Little did I know what would happen as I this late spring (May 2013) had the wonderful opportunity to study for her at a workshop hosted by Etnografiska museet (Museum of Ethnography) in Stockholm. Arrangers were Anna Lauri and Eva Melldahl (from Nämnden för hemslöjdsfrågor) with the starting point in the rich collections of the museum (especially the exhibition"Magasinet") and evoking questions about collecting practices and modernity versus ”tradition”.
 

This post will tell and show a little from that workshop which was intended for students at several Swedish art and crafts institutions (as I´m not such a student I was very happy to be allowed to participate anyway). 

Jeanette Schäring´s works of art and pomegranate at the workshop (May 2013). Photo: slow creations

Jeanette Schäring´s materials at the workshop (May 2013). Photo: slow creations

In connection to her on-going exhibition Matter in Motion and the mysticism of Nature´s colour at Göteborgs botaniska trädgård (until 22 September), Jeanette has said: In my work I combine cultural heritage, millennium-old, dynamic dyeing techniques with digital media and high-tech analysis. By highlighting new opportunities and make way for the natural color as an environmentally friendly alternative to our often toxic and, out of the viewpoint of resources, impoverishing, synthetic pigments, we can take back a forgotten craft tradition in a new way. Herbal colours offer an environmentally-friendly alternative to synthetic dyes when it comes from plants, that are renewable, non-toxic and biodegradable. (Quote from Göteborgs botaniska trädgård´s Facebook page, translated by me).

Besides giving erudite, excellent, mind-blowing lectures on the more theoretical part of natural dyeing and the environment as well as opening up questions about both dyeing and cultural history and the future of human existence itself in this time of extreme consumption, fast fashion, and climate challenges, Jeanette Schäring first of all invited us to go out in the beautiful surroundings of the museum to collect material (parts of plants). 

One of the stages in my attemps of "plant bundles". Photo: slow creations

We all made bundles of cloth (mostly cotton) with plants tied up (shibori) and putting them in for example a tea solution. One of the principles of new natural dyeing is to besides boiling/simmering the dye stuff and textiles as in the older method, also pouring hot eater on the plants in a glass container. 

Glass container with onion skins to dye with. Photo: slow creations

Ideally this could ripen over days and weeks in the sun in a window (solar dye) or outside, adding some fresh air now and then to the infusion which will take on its own life, still unexplainable for the scientists how it evolves and what really happens in the chemistry. As far as I know this is especially suitable or effective for onion skins and red cabbage (something I´ve tried myself with good results), but also other plants. One of the challenges of natural dyeing (especially for me being a beginner) is the randomness nature and not having a guarantee which is most exciting and thrilling, I think. Of course there are some “recipes” (as in Duerr´s book and also others, such as pioneer India Flint) and rules but the individual processes and circumstances (which water, temperature, plant stuff, eventual mordants and colour modifiers, which material used, i.e. silk or cotton etc) are considered most important.

Work-in-progress at the workshop. Photo: slow creations

Like a birthday party, unpacking our bundles of plants and textiles... Photo: slow creations

Unpacking my bundle with among others Japanese maple leafs

In short, to be given the opportunity to attend this workshop with Jeanette was one of the landmarks in my life in connection to creativity.  My meeting with Jeanette evoked so much for me! Love and spirituality... inspiration and exchange of ideas on both a personal and professional level. 

My journey continues and some of the results of my work-in-progress and finished pieces can be seen on my Facebook page. Together with my artist and designer friend Agnes Nissen, we have since spring (2013) been evolving a collaboration process. On our journey together we did a small exhibition in June at Agnes´pop-up store SwapShop in Stockholm about natural dyeing in our project called “Kitchen Couture Collab”  (Facebook event), a glimpse of our process up until then, a process which hopefully will result in a blog and a bigger exhibition in the future.

Slow fashion (onion skins, Japanese maple leaf, red cabbage on second hand shirt). Dyeing and photo by slow creations

Kitchen Couture Collab small exhibition (Agnes Nissen and slow creations), June 2013 in Stockholm. Photo: slow creations

Slow art exhibition in Stockholm

Mafune Gonjo (b 1984). Beauty has a thorn. 2008. Glass, metal, cotton
Shown at Slow Art, Nationalmuseum, Stockholm
Photo © slow creations

Things are maybe getting better! There is something going on… slowly and strongly... Concepts like slow art, slow fashion and so on are gaining more recognition, concepts and principles that is very far away from the consumption stress and hectic life-styles of many of us. Maybe somewhat provocative for some people, these concepts are about choosing to live with respect for our environment and our planet, choosing to use your hands, materials and time of your life, for maybe weeks, months or years to make one piece of art.

One of the most creative and important artists in this field is American-born Abigail Doan who at the beginning of this year wrote "Slowing down is ironically a better way for me to examine my ideas about what seems essential for making headway in the studio and beyond." in her always fascinating and beautiful blog. 

I would like to pay attention to an amazing, immensely well-curated exhibition at Nationalmuseum in Stockholm, Sweden. It ends on Sunday February 3rd so you would better hurry (if you are in town). I saw information about it when it opened last autumn, but nevertheless, I ironically ended up hurrying to see Slow Art just the other day... Nationalmuseum is going to close for well-needed renovations (for some years) and the house is filled with eager visitors of all ages. The atmosphere when I was there was warm and nice.

Slow Art, Nationalmuseum. Light by Gert Ove Wågstam
Photo © slow creations

The exhibition Slow Art shows almost 30 pieces made of silver, textile, glass, paper and ceramics, most picked from the collections, and "celebrates a contemporary movement in fine craft where technique, materials and the work process are considered especially important". And it really lives up to that. Most of us cannot imagine how much time is needed to make these pieces. The immense skill, and patience, that was need in making them, is paired with exquisite eye for creation. That is, I mean, they are not only well done, so to speak. The works are poetic and evokes feelings like tenderness for life´s fragility and evanescent beauty but also of strength and often, even more astonishing, all of this at the same time.

The curator, Ph D Cilla Robach, has done the most when picking out and juxtaposing the objects, some of them shown without show-case. She also seem to have a deep understanding for the creative process judging from the labels and the catalogue that, besides being sold, is very generously free to down-load here (in Swedish). There is also an app in connection to the exhibition.

Eva Hild (b 1966). Ceramic shapes no 2. 2000 .
Helena Hörstedt (b 1977). Broken Shadow. 2008. Silk, leather.
Slow Art, Nationalmuseum, Stockholm. Photo © slow creations

Among the artists are Helena Hörstedt, Mafune Gonjo, Eva Hild, Helena Edman, Sebastian Schildt, Helena Sandström, Annika Ekdahl, Pasi Välimaa, Gunilla Lagerhem Ullberg and Karen Bit Vejle.  

Gunilla Lagerhem Ullberg (b 1955). Images. Herbarium, 2011. Petals, glue . Slow Art, Nationalmuseum, Stockholm. 
Photo © slow creations

My "old" favourite, Finland-born Pasi Välimaa, is contributing with an embroidery that took him about a year to create, working on it now and then. I think Pasi Välimaa is a perfect example of slow art!

I really encourage everyone to visit Nationalmuseum and I am looking forward to more exhibitions in the future curated by Cilla Robach. 

In a later post I will try to explore my own relation to "slow" which is something I work with in my own way, to challenge my impatience and keep me grounded.

Pasi Välimaa (b 1968). Embroidery. 2001. Cotton, linen. Slow Art, Nationalmuseum, Stockholm. 
Photo © slow creations

Hemslöjden 100 years/Hemslöjden 100 år: The National Association of Swedish Handicraft Societies 100 years Part II

Fredrik Lindqvist at the exhibition Hemslöjden på Liljevalchs, Stockholm

This year the Swedish organization Svenska hemslöjdsföreningarnas riksförbund ("Swedish handicrafts organisation" or The National Association of Swedish Handicraft Societies) celebrates 100 years (see also my post from March). The general celebration information is here.The major jubilee exhibition takes place at Liljevalchs on Djurgården, Stockholm (Sweden), but there are also two other big exhibitions nearby (At Nordiska museet and Prins Eugens Waldemarsudde). But actually, on 366 days, celebrations take place with workshops, exhibitions and many activities all over Sweden. 

One rainy day recently I went to Liljevalchs to see "Hemslöjden på Liljevalchs (Swedish handicraft at Liljevalchs"; see the movie here). I must admit that although my expectations were fairly high, I was in a good sense overwhelmed by the exhibition.

I had read about the collective work "Can you see the leaves on the trees?" (and thought about joining, but was too late) that visitors encounter close to the entrance. 

2000 "leaves" are made by amateurs and professionals in three rooms. Liljevalch´s beautiful big rooms with high ceiling are filled with this amazing creative force vibrating from all the different leaves (one per person/family/school class etc).  At least three of my friends have contributed.  Every designer is listed in a booklet and here.

"Can you see the leaves on the trees?" at Liljevalchs

I was touched. I slowed down -  this part and the whole exhibition is a "slow exhibition" (and many objects are slow creations). Some leaves are of metal (like beer tops) or wood or other hard materials, but I think most were of textile or yarn to be precise. I was very inspired by some. 

Leave by Ane Löser

It is risky to try to see any "trends" in this diversity, but I could see focus on sustainability, questions of our human existence and feminist issues. Essnetial, very important issues for humankind, beauitifully and often playfully given material form. I love the heterogenous nature of this part and that no one was rejected (within a given format and the limit of 2000 leaves/participants)! At the end of the exhbition, all leaves will be auctioned off in collaboration with Tradera and Stockholm Consumer Cooperative Society for the benefit of Vi Agroforestry Project in East Africa. Bidding is between June 25 until September 2 at Tradera. 

Leave by Petra Jansson

After having gone through these three rooms with leaves you enter nine roms filled, well, the objects are rather sparsely put together, with themes like Between hope and despair, Bohccot (Northern Sami for reindeer) and roses and The exception that proves the rule. My general impression is poetic and restful which is amazing with the more than 900 objects (almost all for sale)

Travelling textiles: patterns and techniques beyond nations

In the big workshop area, I tried to spin for the first time, on a new Dutch spin wheel, under the expert supervison of Karin, ever so patient with a newbie. It was very interesting and magical to see how the wool thread was formed. I would ikie to try more! How cool would that be, to tell that I not only weaved or crocheted a picee, but also spinned some of the yarn... 
In this area, there are always Hemslöjden supervisors to guide and support visitors. This part is immensely important in my opinion, especially for youth, but also adults. Nämnden för hemslöjdsfrågor in Sweden have for quite a long time worked with focus on youths at for example pop and rock festivals with slöjd (handicrafts).

I learned a lot (like above about different types of sheep and their wool (and how spinning of the wool affects the look). 

To conclude, it is a very ambitious and amazing exhibition with an accompanying catalogue edited by Malin Vessby. It differs from the exhibition in a good way, encouraging even more pensiveness, reflections, creativity and last, but not least, DIY (do it yourself) attitude. I especially would like to point at two really good texts by Cilla Ramnek and Otto von Busch. 

I got new knowledge and many insights for both the soul and the creative mind through "Hemslöjden på Liljevalchs". The exhibiton runs until Sept. 2.

Thank you for empowering me in the short and long run and putting the light on soem of the challenges for mankind: sustainability, slow life and re-cycling vs. consumerism and harsh economism. Happy Birthday, hemslöjden! 
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Hemslöjden 100 years/Hemslöjden 100 år: The National Association of Swedish Handicraft Societies 100 years Part I

Hemslöjden 100 years: The National Association of Swedish Handicraft Societies 100 years

The power of folk art and crafts and handicrafts is immense also, or especially, in our time of digital and constant on-line life. The domain of crafts/handicrafts/folk art also is closely interweaved with fields like environment, sustainability and organic materials.
Also, (the from the outset punk and post-punk) DIY culture can be seen as a part of the movement of folk art and crafts.

This year the Swedish organization Svenska hemslöjdsföreningarnas riksförbund ("Swedish handicrafts organisation" or The National Association of Swedish Handicraft Societies) will celebrate 100 years. This will manifest itself as some very promising exhibitions!

One of the most exiting seems to be Väv ("Weave") at Nordiska museet (Djurgården, Stockholm). The museum was from the start created to hold many objects of folk dress as is reflected in the collections.

Photo: Mats Landin ©Nordiska museet.

Väv will feature old textiles from the collection and invited students from Konstfack, HV Skola (Handarbetets vänner) och Sätergläntan. There will also be looms for the public to use. Sounds very nice to me! Opening May 9th (closing September 30 th).

Logo for Power of  Fashion, Nordiska museet

Don´t forget the permanent exhibition Modemakt (Power of Fashion) which shows clothing and fashion from 1780s, 1860s and 1960s (different social groups, for example "folk clothing", very nicely put in a context of fashion). I highly recommend the very well-informed and well-written catalogue written by curator Berit Eldvik (beautiful photos by Mats Landin).
Last but not least, have a look at Nordiska museets Textilgalleri, on-line and IRL.

On June 6th (until September 2), the art hall Liljevalchs in Stockholm will show the jubilee exhibition Hemslöjden på Liljevalchs (Swedish Handicraft 100 Years). I remember the wonderful, joyful and colourful, exhibition Slöjden är här. Slöjden är härlig 1998 at Liljevalchs. I really look forward to this new big exhibition!

Anna-Karin Jobs Arnberg: embroidered mittens. Jubilee exhibition at Liljevalchs

On display will be for example the collective work, "Can you see the leaves on the trees", which will consist of 2000 leaves created by people around the country.

This is part I of my posts about Swedish handicrafts and the jubilee of Hemslöjden. I wish to conclude this post with this picture from Zickermans värld (from Lilli Zickerman, 1858-1949, one of the most important founders of the organized Swedish handicraft movement).

Check out the homepage of the jubilee year for more info about the handicraft movement´s first 100 years in Sweden (at the moment, it seems to be only in Swedish, unfortunately). And look out for my next post on the topic.