totally wild for Ana Kraš’ handmade lamps

totally wild for Ana Kraš’ handmade lamps

Picture Making by Children, R.R. Tomlinson, The Studio Limited, 1934 | found on Stopping Off Place

Picture Making by Children, R.R. Tomlinson, The Studio Limited, 1934 | found on Stopping Off Place

Picture Making by Children, R.R. Tomlinson, The Studio Limited, 1934 | found on Stopping Off Place 

Picture Making by Children, R.R. Tomlinson, The Studio Limited, 1934 | found on Stopping Off Place 

Picture Making by Children, R.R. Tomlinson, The Studio Limited, 1934 | found on Stopping Off Place

Picture Making by Children, R.R. Tomlinson, The Studio Limited, 1934 | found on Stopping Off Place

ink sketch by my favorite drawer in the world, Natalie Northrup dottedswiss: some ink sketches for a pattern collection I’m working on  see more of my work here http://www.natalienorthrup.com

ink sketch by my favorite drawer in the world, Natalie Northrup

dottedswiss:

some ink sketches for a pattern collection I’m working on 

see more of my work here http://www.natalienorthrup.com

Daniela Gregis, autumn 2012 collection 

Daniela Gregis, autumn 2012 collection 

woven gingham + mushroom bag  |  one of my favorite makers Daniela Gregis, spring 2012 collection

woven gingham + mushroom bag  |  one of my favorite makers Daniela Gregis, spring 2012 collection

SATURDAY  |  today we’re hanging out in Hampstead and loving the hell out of our neighborhood. First up is a big walk in the Heath with Agnes, then to Parliament Hill Farmer’s Market for a weekly stock-up on fresh dairy, meats, fish, in-season English cherries, asparagus, and lots of greens. In the early afternoon I’m headed to my favorite space in London, Livingstone Studio, a textile studio and gallery, for a screening of Mary Lance’s BLUE ALCHEMY: Stories of indigo. Livingstone Studio’s current installation of handwoven garments, ceramics, and textiles revolves around indigo and its historical significance. For late afternoon I’m back at the loom to make headway on a piece for a sample garment!  (image pictured: Livingstone Studio’s installation of Oma Jang’s garments + found marbled-pink rocks from Japan)

SATURDAY  |  today we’re hanging out in Hampstead and loving the hell out of our neighborhood. First up is a big walk in the Heath with Agnes, then to Parliament Hill Farmer’s Market for a weekly stock-up on fresh dairy, meats, fish, in-season English cherries, asparagus, and lots of greens. In the early afternoon I’m headed to my favorite space in London, Livingstone Studio, a textile studio and gallery, for a screening of Mary Lance’s BLUE ALCHEMY: Stories of indigo. Livingstone Studio’s current installation of handwoven garments, ceramics, and textiles revolves around indigo and its historical significance. For late afternoon I’m back at the loom to make headway on a piece for a sample garment! 

(image pictured: Livingstone Studio’s installation of Oma Jang’s garments + found marbled-pink rocks from Japan)

weaving a larger version of a sample I made a few weeks ago. the version on the loom has less dense of a warp than the sample. it’s interesting to see what a difference it makes once woven. the version on the loom will have a slightly darker look overall, as there are less of the rose/blush colored warp. not sure which I prefer. any thoughts? 

weaving a larger version of a sample I made a few weeks ago. the version on the loom has less dense of a warp than the sample. it’s interesting to see what a difference it makes once woven. the version on the loom will have a slightly darker look overall, as there are less of the rose/blush colored warp. not sure which I prefer. any thoughts? 

Ruth van Beek, Hibernator: untitled (pearl), 2011

Ruth van Beek, Hibernator: untitled (pearl), 2011

Ruth van Beek’s The Hibernators | published by RVB Books

Ruth van Beek’s The Hibernators | published by RVB Books

Ruth van Beek’s The Hibernators | published by RVB Books

Ruth van Beek’s The Hibernators | published by RVB Books

Hildur Guðnadóttir  |  Leyfdu Ljosinu Hildur is a cellist, vocalist, and composer based in Iceland. Her work is absolutely stunning and deeply affecting.  Early this morning I was listening to her newest piece while weaving and I kept thinking about the relationship of lightness and darkness.  I came around to the idea that (whilst I was living there) Iceland brought a darkness that I had never known out in me as well as delicate, emphermeral moments of heightened lightness. After listening to this piece I looked at the title more closely and it translates to “Allow the Light.”  More about Hildur and her work here.

Hildur Guðnadóttir  |  Leyfdu Ljosinu

Hildur is a cellist, vocalist, and composer based in Iceland. Her work is absolutely stunning and deeply affecting.  Early this morning I was listening to her newest piece while weaving and I kept thinking about the relationship of lightness and darkness.  I came around to the idea that (whilst I was living there) Iceland brought a darkness that I had never known out in me as well as delicate, emphermeral moments of heightened lightness. After listening to this piece I looked at the title more closely and it translates to “Allow the Light.” 

More about Hildur and her work here.

Nicole Eisenman | Mountain Man, 2006 one of my favorite painters is Nicole Eisenman. Her work, in the form of forty-five monotype portraits, can be found at this year’s Whitney Biennial. Peter Schjeldahl’s account of the biennial (he even calls it “enchanting”) is a nice read if you cannot physically visit. 

Nicole Eisenman | Mountain Man, 2006

one of my favorite painters is Nicole Eisenman. Her work, in the form of forty-five monotype portraits, can be found at this year’s Whitney Biennial. Peter Schjeldahl’s account of the biennial (he even calls it “enchanting”) is a nice read if you cannot physically visit.