Lohr, Ginny
January 1996
Surface Design Journal;Winter96, Vol. 20 Issue 2, p13
Trade Publication
The article compares the approaches to textile artwork used by Nancy Belfer, Fuyuko Matsubara and Erica Licea-Kane. Belfer typically uses an ikat technique in which she uses fiber reactive dyes and rayon warp before weaving, and then weaves the background colors on her fabrics. Matsubara uses silk and linen to weave a white cloth, and then paints on the cloth. After painting it, she unweaves it and weaves it again using a different weave structure. Licea-Kane weaves her wool cloth, and then paints her subject. She then sews portions of the painting together and stiffens it with a watered down acrylic medium.


Related Articles

  • BOSTON. Newman, Rochel // Surface Design Journal;Winter95, Vol. 19 Issue 2, p30 

    The article reviews the textile craft exhibition featuring the tapestries by Erica Licea-Kane at Bromfield Gallery in Boston, Massachusetts on May 3-28, 1994.

  • Weaving Worlds Together. Ziek, Bhakti // Fiberarts;Mar/Apr92, Vol. 18 Issue 5, p47 

    The article focuses on the fiberwork of textile artist Fuyuko Matsubara. Japanese symbols remained in the work of Matsubara. Several of the symbols which she use are the kidney-shaped comma, a hair comb, the lotus, the sun and moon, and little graveyards resting on leaves. Her symbols signified...

  • A SHOW OF COMPLEMENTS. Schevill, Margot Blum // Fiberarts;Jul/Aug86, Vol. 13 Issue 4, p50 

    The article reviews an exhibition of fiber works by Joanne Segal Brandford and Fuyuko Matsubara at the William Crapo Gallery of the Swain School of Design in New Bedford, Massachusetts from January 27-February 13, 1986.

  • NANCY BELFER: Interreletated Modalities. Belfer, Nancy // Fiberarts;Jan/Feb89, Vol. 15 Issue 4, p27 

    The article discusses the new textile design of textile artist and professor Nancy Belfer. Several techniques are mixed to achieve a more complex imagery and richer fabric surface. The new approach allows the author to examine the interaction of dyed, painted and stitched motifs applied both...

  • Balinese Double Ikat Weaving. Rowley, Kathleen // Fiberarts;Mar/Apr93, Vol. 19 Issue 5, p33 

    The article discusses the design and weaving of geringsing, a double-woven ikat cloth from Bali, Indonesia. Geringsing is believed to be capable of protecting its wearer from evil and illness. Weavers at Tenganan make geringsing from a continuos warp on a body tension loom and dye it in...

  • DUNKIRK, NEW YORK. Page, Karen S. // Surface Design Journal;Winter94, Vol. 18 Issue 2, p31 

    The article reviews the works of several textile artists including Marcia Karlin, Nancy Belfer and Hillary L. Steel exhibited at Adams Art Gallery in New York City from June 26 to August 22, 1993.

  • JOAN STUBBINS.  // Fiberarts;Nov/Dec92, Vol. 19 Issue 3, p25 

    The article offers information about the author's artwork, called the Dawn Series: Let There Be Peace, which is created with ikat warp, double weave pick-up and quilting. She notes that she tried to show the uniqueness of fiber, which covers the textures, color interactions of individual...

  • Working with Silk. Helmi, Kunang // Fiberarts;Nov/Dec90, Vol. 17 Issue 3, p48 

    The article discusses the novel interpretation of the rich textile heritage of Indonesia by weaver and fabric designer Yusman Siswandi Batubara. He started to revive silk ikat weaving upon the suggestion of his business partner's wife despite having only a vague notion of the actual techniques...

  • Lynne Caldwell.  // Fiberarts;Jan/Feb2000, Vol. 26 Issue 4, p18 

    The author talks about her textile artworks. She says that her weavings are made of natural fibers, which she dyes by hand using combined ikat and warp-painting techniques. She adds that there is a risk and surprise in the final outcome of the work because of the nature of the technique she...


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics