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The 2008 Shibori Symposium will highlight some of the most renowned shibori artists in the country. Participants will have the opportunity to interact in an intimate setting with experts in the field, work in our premier dye lab and be a part of the fiber art community at the Textile Center. The Symposium will include both pre and post conference workshops, two days of fascinating seminars and discussions with local, regional and national artists, a key note address and opportunity to view the "Shibori Cut Loose" exhibition in Textile Center's Joan Mondale Gallery.
Mark your calendars now for June 4-10, 2008 and plan to visit beautiful Minneapolis, MN for an experience rich in art and culture.
"Ingenious means of shaping cloth by plucking, pinching, twisting, stitching, folding, pleating, wrapping, and securing the shapes by binding, looping, knotting, clamping and the like. This entire family of techniques is called shibori. The designs created by shibori processes all share a softness of outline and a spontaneity of effect"
From Shibori Ð The Inventive Art of Japanese Shaped Resist Dyeing, authors Yoshiko Wada, Mary Kellogg Rice, Jane Barton
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- Wednesday through Friday: June 4, 5, 6
Pre Conference Workshops with Yoshiko Wada and Ana Lisa Hedstrom
- Friday June 6: 6:00 pm Opening reception for "Shibori Cut Loose" Exhibition in Textile Center Joan Mondale Gallery
- Friday June 6: 7:00 pm Keynote Address "Shibori: 400 years of Artisan Design" with Yoshiko Wada
- Saturday June 7: Concurrent Seminar Sessions including demonstrations, discussions, slide lectures and more
- Sunday June 8: Concurrent Seminar Sessions including demonstrations, discussions, slide lectures and more
- Monday and Tuesday: June 9 and 10
Post Conference Workshops with Chad Alice Hagen and Jan Myers Newbury
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Arashi Shibori: Beyond the Basics
Ana Lisa Hedstrom
June 4, 5 and 6 9:30 am - 4:30 pm
Arashi Shibori has become a familiar technique in American surface design.
It is a facile process, but may also be developed to produce complex and intricate patterns by wrapping and rewrapping. We will review the basics, then learn the net pattern (hasu ami), and angel wings (hagaromo) and other patterns based on antique Japanese fabrics. Participants will also experiment with their own adaptations and inventions. Aesthetic choices are expanded by painting and immersing our poles with fiber reactive dyes, and using discharge techniques.
Some arashi experience would be helpful but not necessary. Materials fee $12. Download Supply list. This workshop is full. Please call to add your name to the waiting list.
The Traditional Way: Knotting, Stitching, and Clamping
Yoshiko Iwamoto Wada
June 4, 5 and 6 9:30 am - 4:30 pm
Shibori is, in its essence, a process for transforming material from 2D to 3D using inventive combinations of hand techniques or machine- or tool-aided techniques that take advantage of a cloth's physical and chemical structures. Here, Yoshiko will share the ways practiced by artisans from Arimatsu Narumi, such as knotting or bound-resist; stitching or stitch-resist; and clamp-resist or itajime. After setting up a basic indigo dye vat, we will dye our samples as we learn and discuss the myriad of possible methods to individualize, vary, and evolve this art form. Please bring basic cotton fabric. Stencil and fugitive ink to transfer traditional patterns will be made available. Materials fee $25. Download Supply list. This workshop is full. Please call to add your name to the waiting list.
These sessions will be presented concurrently throughout the day. Please see registration booklet for detailed schedule. You may register for a full day pass or individual sessions. More information will be available when registration opens.
Falling Leaf Shibori: Katano Shibori Extended
Abi Chodosh
Beginning with the Katano shibori method of stitching and binding the fabric between heavy cloth, protective fabric flaps are added which function as mechanical resists. By selectively placing these flaps, the artist is able to use multiple dye baths to achieve blending of an array of colors. This demonstration will show how to design and implement a series of steps in pattern design; folding, binding and stitching cloth; adding and removing protective fabric flaps; and dyeing the bound cloth with dyes from natural sources such as Cochineal, Osage Orange and Logwood.
Japanese Stitch Shibori with Uzbek Embroidery
Sandra Brick
Mokume, Ori-nui, Karamatus, Awase-nui and Maki-nui are all different shibori stitch resist techniques. Each can be used to create an enormous diversity of designs which can be used as the foundation for embellishment. With PowerPoint images we will explore the merging of two cultures--Japanese via shibori and Uzbek via embroidery. Enrollees are invited to participate in discussion and Q & A.
The "How" and "Why" of Dyeing Logs
Sandra Brick
The fun of dyeing is discovering different interactions between fabric, dye and technique. These "inventions" can be one time events. However, what if you want to restage the discovery? How would you know what to do? A dyeing log is a place to keep track of all the variables for the future. The presentation will explore diverse formats for a dyeing log. Enrollees are invited to participate in discussion and Q & A.
Photographing Your Work
Petronella Ytsma
Explore the effective documentation and presentation of your textile art with a professional photographer. Learn to use slides, black and white and color prints, digital images and scans to promote and market your work. Discuss what jurors look for in selecting works from photos and slides.
Developing Peer Critique
Carolyn Halliday
You've made a ton of samples. You've enthusiastically created scarves or garments or sculptures with your fiber creations. But now you're wondering how others react to your work. This workshop introduces the Critical Response method of critique which allows the fiber artist control in the type of feedback desired. In our two hours, you will have a chance to understand and practice the model, which you then could use in setting up your own peer critique group.
Copyright Issues for Artists
Jennie Clarke
What is a copyright? How can you protect images you create? How can you use images other people have created? Is there a difference between what is legal and what is ethical? When are you copying and when are you inspired by another work or image? This roundtable will center on these issues and how they impact the creation of visual arts in general and art cloth in particular.
Safety in the Studio, It's About your Health!
Marliss Jensen
See a show and tell presentation on wise ways to protect yourself and the environment while working on your art. In a guided tour and introduction to the Textile Center Dye Lab facility and equipment, Marliss will give examples and stories from her life long work in dyeing, painting and fiber arts. Includes handouts on basic safety.
SHIBOR-RECYCLE
Ana Lisa Hedstrom
Recycled fashion is a movement that is both fun and feel good. Shibori techniques offer perfect opportunities to re-invent old and discarded clothing.
Ana Lisa Hedstrom has added SHIBOR-RECYCLE to her limited edition clothing production, and she will share this new direction through demonstrations and a power point presentation. Techniques include dye sublimation transfer printing on polyester, felting wool, and combining different fibers and fabrics to create textures and patterns. Ana Lisa will also share work of designers and artists who question our consumer culture and seek new ways of creating, wearing, and marketing clothing.
Fashion, Textile, and Shaped-resist
Yoshiko Wada
Since Japan's post-Industrial period, artistic craftsmanship and the use of "high tech" materials by Japanese fashion and textile designers have exhibited an imaginative approach to working with natural and synthetic materials. One notable aesthetic concern to consider is texture. Texture can be based on the concept of imprinting memories on pliable surfaces using conventional and unconventional forces; in particular, shaping the cloth/canvas through various ways including traditional Japanese shibori techniques. The actual examples of fabric and fashion made by some of the most innovative designers in Japan will illustrate this talk. This is an open discussion session to exchange ideas and information on the subject of how and where to apply surface design techniques.
Kyokechi: Carved Board Clamped Resist
Jay Rich
Kyokechi or carved board clamped resist dyeing is a less well-known form of shibori. The complexity of replicating this process is the task of carving the intricate mirror image blocks. Preliminary research of a contemporary modification will be shared. Slides from field study in Southwest China will show the simplicity of this dye process. Textile and dyeing board examples will be available for study.
Shibori Knitting
Jay Rich
The first waves of shibori knitting have been largely surface treatments to stockinette stitch. This session explores how to integrate common hand knitting techniques to mark, guide or direct resist dyed patterning or resist felt patterning on hand knits. Other techniques will be shown to challenge knitters to think about the integrity of the knit structure and the shibori process.
Shibori: Control Dying/Unleash Imagination
Monoleena Banerjee
In the contemporary textile world, the Japanese word shibori has become the technical term for all kinds of tie and dye. This session shows a variety of shibori techniques in combination with other textile techniques like printing, weaving, and hand embroidery as well as the fusion of work using different techniques of tie and dye from Japan, India, Indonesia and Africa.
Arashi Shibori for the Time Challenged
Jan Myers Newbury
Learn a myriad of quick-and-dirty techniques for wrapping fabric on PVC pipe. Each creates a distinct pattern that did not require hours of wrapping and preparation prior to dyeing. You'll never shy away from pole wrap again!
Thinking Outside the Box
Tricia Quirk Spitzmueller
Even creativity gets boxed in. Now that you have increased exposure to the fine art of shibori, what will you do with it? Join others in a lecture/discussion on how to expand and implement your creative energy. We will take shibori to the next level as we open up channels of creativity and engage our inner artist.
Packaging Yourself as a Professional
Erica Spitzer Rasmussen
This seminar session concentrates on preparing exhibition proposals. The do's and don'ts of presenting yourself as a serious and organized artist will be addressed. Cover letters, resumes, slides versus CDs, artists' statements, etc. will be reviewed in order to catch a curator's eye.
Paper Transfer Resist Techniques on Wool Felt
Chad Alice Hagen
Learn a unique and very cool way of transferring painted dye images from paper onto felted wool. This process enables one to draw directly onto paper and have those exact images permanently transferred to the fabric. I will start with a demonstration and will put the samples into a hot water clear dyebath while showing slides of work done with this technique. After the slides, the dyebath will be finished and the samples taken out, unclamped and displayed to wonder and amazement.
A Twist of Fabric
Candy Kuehn
Drape squares, circles, rectangles or just plain yardage into jackets, dresses, pants, shirts and skirts using just a twist of fabric to make new shapes. This seminar shows you how to make many shapes for clothing and art with very little cutting or sewing - a great way to transform your shibori yardage without scissors! You'll leave with simple, nuanced garment patterns you can further invent upon.
Stitched Resist My Way
Cecile Lewis
Stitched resist is an ancient, reliable method for creating reserved ground on cloth for vat dyeing. Cecile will demonstrate her unique way of resisting and controlling the migration of dye on the cloth, using a sewing machine and common products that can be easily found in the grocery store and the sewing supplies store. This session will focus on preparation of the cloth for the dye pot.
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Fabulous Resist Techniques for Hand Felted Wool
Chad Alice Hagen
June 9 and 10 9:30 am - 4:30 pm
This workshop will combine the traditional knowledge of hand felting wool and the innovative use of shibori techniques to create not only unique markings, but physical changes to the shape of the felted surface. Students will use needle-punched fine merino batts as their canvas for learning dozens of fabulous ways to fold, bend, wrap, stitch, clamp, and over-dye wool felt with strange objects to produce utterly beautiful surfaces. Class will also learn which techniques can produce permanent textures on that dyed surface as well as the basics of setting up a safe dyeing environment at home. Materials fee $35 payable to the instructor. Download Supply list. This workshop is full. Please call to add your name to the waiting list.
Shibori: A Unique World of Pattern
Jan Myers Newbury
June 9 and 10 9:30 am - 4:30 pm
Explore the incredible variety of marks and patterns on cloth that can be achieved with tied, clamped and stitched resist methods. Emphasis will be on producing richly patterned COTTON fabrics relatively quickly, multiple dyeings, and combining techniques. You will leave the workshop with a wealth of samples and know-how. Materials fee $15. Download Supply list. This workshop is full. Please call to add your name to the waiting list.
Shibori: 400 years of Artisan Design
Yoshiko Wada
Friday June 6 7:00 pm
Today, the term shibori is accepted vocabulary in the international language of textiles. One of the most persuasive exponents of this art form is Yoshiko Iwamoto Wada. She has co-authored a definitive book on traditional shibori (1983) and authored an acclaimed second book highlighting contemporary shibori work (2002). Yoshiko will share with you the very first shibori swatches she was exposed to, ones whose dynamism and liveliness compelled her to study the tradition of Arimatsu in her native country. She will explain how these fabrics reflect Japanese society's enduring sense of craftsmanship while simultaneously reflecting the influx of Western ideas on traditional artisans. She will also illustrate how cloth was bound and pleated using many small, manually operated machines and tools. The drastic decline in demand for kimono has devastated traditional textile centers in Japan, especially Arimatsu (between 1902 -1921, annual production of Arimatsu shibori reached its peak at 1,200,000 tans (a tan is a 12.5-yard bolt of 14-inch-wide kimono cloth) or simply bolts of kimono cloth). Where will we go from here, literally and metaphorically? We consider such questions and search for answers as one agenda of this symposium.
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Registration for the Symposium is now open.
Download complete registration booklet here.
Download registration form only.
If you are having trouble viewing either form, you might need an update:
- To have the forms emailed to you, please send a request to info@textilecentermn.org.
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To have the forms faxed to you, please call 612.436.0464.
- Paper copies of the registration booklets will be available at the Textile Center after January 21.
Registration FAQ
- This webpage will be updated with complete information when registration opens. Please bookmark this page.
- Workshop space is limited and is first-come, first-served. Please register early to reserve your space. Workshop spaces are not held without payment in full.
- Registration will be accepted by phone, fax or mail. Online registration will not be available.
- There is no early or pre-registration. Registrations will not be accepted before 10:00 am on Monday January 14.
- Spaces in workshops will not be held without payment in full at the time of registration.
- Please note, materials fees listed for each workshop are payable to the instructor at the first class session. Do not include these with your registration fee.
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All symposium events must meet a minimum enrollment in order to be held. If Textile Center has to cancel a workshop, seminar or other events because of insufficient enrollment, registrants will receive a full refund of the fee for the event.
Withdrawals
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If you need to withdraw from a workshop or other symposium event, you may do so by contacting the Textile Center. Withdrawals will be accepted by mail, fax, or phone. Written letter of withdrawal preferred. You will receive a confirmation of your withdrawal. You may not transfer a registration fee to another workshop.
- If your notice of withdrawal is received BEFORE May 14, 2008, you will receive a full refund (via check) of the total workshop and/or symposium fees, less a processing fee of $20.
- If your notice of withdrawal is received BEFORE May 21, 2008, you will receive a refund (via check) of 50 percent of your workshop and/or symposium fees.
- After May 21, 2008 there will be no refund for withdrawals. We would, however, appreciate notification if you will not be attending the event for which you have registered.
Textile Center is located at 3000 University Ave SE, Minneapolis MN 55414.
Download Transportation and Lodging information here.
Yoshiko Iwamoto Wada is an artist, scholar, curator, and design consultant active in textile art research and the curatorial field since the 1970s. She currently serves as president of the World Shibori Network. Shibori is Yoshiko's area of expertise and her work contains visual and conceptual pun/statements and forms range from traditional costume to a virtual room installation.
Chad Alice Hagen has been exploring hand-felted wool since 1980. Hagen's hand-felted wool has been exhibited throughout the United States as well as in Mexico City, Japan, India, England and Denmark. She has taught feltmaking extensively since 1984 to adults and children throughout the United States. Hagen's feltmaking specialty and passion is resist dyeing of hand-felted wool.
Ana Lisa Hedstrom has been an innovator in Surface Design for over 25 years working with contemporary applications of the Japanese technique called arashi shibori, a resist dyeing process. Her art clothing and interior wall hangings have been exhibited and published internationally and are in the collections of the Oakland Museum, The DeYoung Museum, the Cooper Hewitt Museum and the Museum of Art and Design in New York.
Jan Myers Newbury is known for her lyrical, geometric, pieced quilts using shibori fabrics of her creation. In 1999, her quilt, Depth of Field: A Plane View, was selected as one of the 20th Century's 100 Best Quilts. That same year she was a featured presenter at the Third International Shibori Symposium in Santiago, Chile. An instructor for over 25 years, Myers-Newbury is an active member of the Fiberarts Guild of Pittsburgh and serving on the board of directors of the Surface Design Association from 1999-2005.
Sandra Brick plays with space, color, shape and texture to achieve beautiful and meaningful artifacts. A professional artist since 1990, her work has appeared internationally in juried shows, publications, museums and shops. Brick's work is owned by private collectors as well as the Minneapolis Institute of Art. Sandra lives in Minneapolis.
Jennie Clarke is a textile artist who also happens to make a living as a lawyer (but not a copyright lawyer!). The use of imagery in the creation of art, particularly in using images to create tools in making art cloth, as well as the use of images in collage, has pushed her to try to learn more about the subject of copyright for her own work. Jennie is from Minneapolis.
Marliss Jensen is a professional dyer and surface designer who has been working with fiber reactive dyes for the past 20 years. She is the owner of Iris Color Studio in Minneapolis. She is a professional custom color dyer for theater, opera, films, museums and textile artists and teaches exclusively on dyeing and design.
Erica Spitzer Rasmussen has twenty years of experience working within various Twin Cities' exhibition facilities. Currently she is a professor of Studio Arts at Metropolitan State University in Saint Paul where she directs the campus gallery. In addition to her curatorial work, she exhibits her handmade paper works internationally.
Carolyn Halliday is deeply interested in the issue of critique, and how artists can help each other to develop and support their work. She has worked for WARM (the Womans Art Registry of Minnesota), and the Textile Center Mentor Program as a teacher and facilitator of the Critical Response method. Over the years she has been in a variety of peer critique groups which used the method. Her own artwork focusses on using traditional textile techniques, especially hand knitting, and non traditional materials to create sculpture and wall pieces.
Abi Chodosh is an experimental shibori artist as well as a teaching artist and a registered art therapist. She uses natural dyes exclusively in her textile design and is interested in bringing natural dyes and contemporary shibori process to educational and community settings. As a member of the Oklahoma State Arts Council Artist Roster, she teaches visual art to at-risk-youth in an alternative education program. As a faculty member of the City Arts Center, in Oklahoma City, OK, she has co-developed a comprehensive community arts based natural dye curriculum.
Jay Rich is a self taught, life long hand knitter who started hanging out with shibori artists over 10 years ago. He systematically researched fiber types, felting process and then dye process to apply shibori to his knitting. He has traveled to Japan, China, Chile and the UK for textile studies. He is a member of the World Shibori Network, Surface Design Association, Handweaver's Guild of America, edits the Omaha Weaver's and Spinners Newsletter and serves on the Friends of the Robert Hillestad Textile Gallery board. He teaches natural dyes and shibori knitting.
Monoleena Banerjee, of Kolkata, India works as part of a printing, weaving, hand-painting and shibori unit of 60 people named RANGEEN-III, a production unit of Weavers Studio and Veda commercial Pvt Ltd as senior manager and chief designer from 1994 to present. She in her thirteen years of textile study has traveled all over the Indian sub-continent and different parts of the world to learn natural dying, wax resist batik printing, shibori, old traditional printing (Ajrakh printing) and different advanced Azo-free printing techniques and felt making.
Petronella Ytsma is a professional arts photographer. She has been shooting the work of artists since 1979 and is well know locally, nationally and internationally. Petronella Ytsma is from Minneapolis.
Candy Kuehn
creates one-of-a-kind painted and dyed wall pieces, wearable art and custom yardage for designers and collectors. Candy is Textile Center's Artist in Residence for 2007-2008.
Cecile Lewis
is a dressmaker, tailor, quilter and indigo dyer. "My textile experience is grounded in the stitch. I create rhythm on cloth using stitches. Stitches are common, old and reliable. Stitches mend, join, strengthen and decorate artifacts of human endeavor and their threads run through time, cultures and places." Cecile is from Minneapolis.
Tricia Spitzmueller
has a private practice of 17 years in Spiritual Direction and Energy Healing. She is also an internationally known fiber artist and teacher lecturing on creativity and innovative fiber arts. She has recently won the Jewel Pearce Patterson Scholarship, 2007, awarded by the International Quilters Association for excellence in teaching.
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How do I tell you which seminars that I want to register for? I really want to make sure I get in to one!
You will choose specific seminars when you check in on Saturday or Sunday of the symposium. If you are really anxious to get in to a session, our best suggestion is to be here at 8:00 for check in and have you sessions picked out when you arrive. Each session can hold approximately 50 people.
What is the day pass?
A day pass is like your ticket to all of the events held on that day. For example, there will be 9 seminars held on Saturday. When you check in on Saturday morning, you will choose the 3 sessions you would like to go to - one in the morning, one in the late morning and one in the afternoon.
McKnight Foundation
Jerome Foundation
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