My LITTLE TAPESTRIES pieces are influenced by traditional textile art.
A traditional tapestry is traditionally woven on a vertical loom, and composed of two sets of interlaced threads. Threads running parallel to the piece create the tension. Threads running back and across along the width create the pattern or image. It is these threads which show in the traditional tapestry.
Tapestries were very portable. They could also be draped on the walls of castles for insulation during winter. They could be hung as decorative interior elements and displays of wealth. The "Cartoon" -- that is, the design image -- ranged from the purely decorative to tales of heroicism, mysticism, or religiosity.
Often, to make these loomed pieces feel more 3-dimensional, they were embellished with beads, pieces of glass, and pieces of mirrored glass, which would create fascinating interplays with light. The beads might be used to create border fringes, or might be sewn into or embroidered onto the tapestries themselves.
In my LITTLE TAPESTRIES COLLECTION are pieces of jewelry constructed in a similar vein as traditional tapestry textiles. Beads and components are bead-woven together to create little tapestries meant to be worn as necklaces. Glass, metal and crystal beads create a fabulous wealth of color and light effects. When the pieces adorn the person, these color and light effects play with and off of that person's movement, amplifying the excitement, power and visual appeal.
The LITTLE TAPESTRIES pieces are designed to wear close to the neckline. They are, however, adjustable in length, allowing them to be worn lower, if desired.
A traditional tapestry is traditionally woven on a vertical loom, and composed of two sets of interlaced threads. Threads running parallel to the piece create the tension. Threads running back and across along the width create the pattern or image. It is these threads which show in the traditional tapestry.
Tapestries were very portable. They could also be draped on the walls of castles for insulation during winter. They could be hung as decorative interior elements and displays of wealth. The "Cartoon" -- that is, the design image -- ranged from the purely decorative to tales of heroicism, mysticism, or religiosity.
Often, to make these loomed pieces feel more 3-dimensional, they were embellished with beads, pieces of glass, and pieces of mirrored glass, which would create fascinating interplays with light. The beads might be used to create border fringes, or might be sewn into or embroidered onto the tapestries themselves.
In my LITTLE TAPESTRIES COLLECTION are pieces of jewelry constructed in a similar vein as traditional tapestry textiles. Beads and components are bead-woven together to create little tapestries meant to be worn as necklaces. Glass, metal and crystal beads create a fabulous wealth of color and light effects. When the pieces adorn the person, these color and light effects play with and off of that person's movement, amplifying the excitement, power and visual appeal.
The LITTLE TAPESTRIES pieces are designed to wear close to the neckline. They are, however, adjustable in length, allowing them to be worn lower, if desired.
This LITTLE TAPESTRIES - GHINDIA pendant choker necklace interweaves brass, austrian crystal and japanese glass beads. This piece was inspired by a cyber visit to an art show in India, show-casing contemporary Asian and African artists. I was struck by several tapestry pieces in the show. There was a fluid weightiness in their textiles and textures, and a wonderfully uplifting mix and interplay of golds and vivid colors.
The challenge here was how to duplicate the sensibility of the artwork I had viewed, and translate this into something wearable. It had to flow and drape. I wanted it to feel and look like cloth, but at the same time build in a lot of metal.
I also wanted to direct and redirect light. Some beads are positioned on their sides. Some vary in shape, faceted, surface texture or size. All are positioned tightly within a vertical and horizontal grid, yet still undulate somewhat, in spite of the physical boundaries.
To make the whole piece come together, I used what is called the Square Stitch in beadweaving. To allow a fluid, smooth, draping, I created the equivalent of a hinging system between each vertical column of beads. I brought my stringing material into the fore, making my "canvas" part of the artwork itself. This allowed me to create an exciting dichotomy between very rigidly organized spaces and seemingly chaotic disorganized ones.
The oxidized brass necklace chain allows this piece to be adjustable, between 16 and 19". The clasp is a simple hook and eye clasp.
The piece is meant to be worn close to the neck. However, it can easily function as a longer piece, as well.
The challenge here was how to duplicate the sensibility of the artwork I had viewed, and translate this into something wearable. It had to flow and drape. I wanted it to feel and look like cloth, but at the same time build in a lot of metal.
I also wanted to direct and redirect light. Some beads are positioned on their sides. Some vary in shape, faceted, surface texture or size. All are positioned tightly within a vertical and horizontal grid, yet still undulate somewhat, in spite of the physical boundaries.
To make the whole piece come together, I used what is called the Square Stitch in beadweaving. To allow a fluid, smooth, draping, I created the equivalent of a hinging system between each vertical column of beads. I brought my stringing material into the fore, making my "canvas" part of the artwork itself. This allowed me to create an exciting dichotomy between very rigidly organized spaces and seemingly chaotic disorganized ones.
The oxidized brass necklace chain allows this piece to be adjustable, between 16 and 19". The clasp is a simple hook and eye clasp.
The piece is meant to be worn close to the neck. However, it can easily function as a longer piece, as well.
