California – Page 67 – Ink, Yarn & Beer

John Marshall: Works in Fabric, i

John Marshall, of Covelo, California, is an incredible fabric artist who designs clothing using the traditional Japanese katazome and tsutsugaki techniques to color the fabrics he uses in clothing he designs and sews himself.

A bit about John, from his website:

John Marshall is an internationally known textile artist working with techniques of paste resist dyeing. He produces a wide range of sophisticated and colorful designs, many of which show the influence of his years of study in the Orient.

John grew up in the small town of Florin, just outside of Sacramento, California. Before wartime evacuations, Florin had been one of the largest Japanese-American communities in the United States; after the war many returned to reclaim lost years and property. These are the friends and neighbors John and his five brothers and sisters grew up among.

John’s Godmother, the late Mary Tsukamoto, was a great influence in his life: teaching him to read and write the Japanese language and sharing with him her great love of her cultural heritage.

At the age of seventeen, having worked and saved toward his goal for many years, John was off on his own to discover Japan. His eagerness to learn secured him private instruction under a variety of specialists in doll making, centered around the Yamato style. John was intent on studying the many facets of these shell-faced dolls, such as carving, weaving, dyeing, and sewing, to name just a few. His knowledge of the Japanese language proved to be of great benefit in understanding the subtleties of the culture.

The internationally published paper artist, Kunio Ekiguchi, took John under his wing and saw to it that he received the proper introductions so necessary in Japan. Mr. Ekiguchi arranged an apprenticeship for John with the late Matsuyo Hayashi, a master dyer in the bingata style of paste resist. Through her insight and careful instruction, John became truly fascinated with this ancient art form. Mme. Hayashi had long dreamed of sowing the seeds of her art abroad. Upon her death, John discovered she had willed much of her lifetime collection of work, supplies and equipment to him. John was determined to fulfill her wishes by bringing her techniques to the West.

Continuing his research into ancient cultures and dye techniques, John aims to interpret the sensibilities and aesthetics of the ancient and ethnic world through the Japanese paste resist process, using the actual plants and insects employed in making the original dyes. John’s research so far has taken him to Japan, Thailand, Italy, Indonesia, and the Yucatan. Through the generosity of collectors, he has had the opportunity to view first hand a wide range of ancient and ethnic textiles and artifacts which have served to influence his fabric designs.

Today John is in the midst of renovating an old flour mill in the Old West town of Covelo, nestled in the remote mountains of Mendocino County of Northern California. A generous 12,000 square feet, the new studio is used to display the full range of his work intermixed with art pieces collected at home and abroad. Situated on an acre of land complimented with over 300 wisteria vines gracefully covering a redwood arbor, this sun-filled space is also used to host lectures and as a classroom for teaching a wide range of Japanese crafts: dyeing, bookbinding, doll making, paper crafts, sewing, color theory and production, and textile history.

John has also taught programs for the past twenty five years for a wide range of institutions including a number of years at the Pacific Basin School of Textile Arts in Berkeley, and through UC Berkeley Extension Services, as well as lecturing extensively to large groups through museums, guilds, embassies, and universities internationally. He is currently working on a project to teach his design concepts to Japanese students of kimono design in Tokyo.

Specializing in one-of-a-kind works of art, John takes on commissions and new challenges. He produces primarily large interior hangings and luxurious clothing. All of John’s work is designed, dyed, and constructed for actual use. All hues are colorfast to repeated washings and to light. Personally executing all stages going into the creation of each piece is one of his great joys.

John Marshall’s work is collected internationally. He has done commission work with traditional kimono in Japan and also produces pieces for stockbrokers, professors, art collectors, and many international figures including European royalty. He travels regularly, showing to his private clients throughout North America and Asia. His work was also carried by leading galleries throughout North America.

John is writing a series of instructional books. The first was published by Kodansha International, 1988, on the subject of Japanese sewing techniques and design concepts for use in the western world. The title is Make Your Own Japanese Clothes: Patterns and Ideas for Modern Wear. This will be followed by a number of other books, including one on his unique dye techniques. His video, Japanese Textile Dyeing: Introduction to Paste-Resist Techniques, released through A/zo Productions, covers the basics of using natural dyes with Japanese Paste resist methods.

John is eager to share information and ideas, with the hope of helping the seedlings of Japanese dyeing and crafts to grow and enrich all our lives.

I have had the privilege to take dyeing and katazome classes from John, and appreciate his warm, friendly personality and the structure and organization of his workshops and classes. I hope to continue learning from John in the future.

Summer’s End

Somewhere I remember reading about a “rosy dawn,” but today’s rosy dawn is because of the fires burning in the San Gabriel area in Southern California. Yesterday as I drove home from Ventura, the billows of smoke from more than 80 miles away could be seen piling up in the sky, much like a volcano’s ash and smoke as it travels upward. This morning, the air is thick, and ash is falling on the streets in very fine particles.

The entire state of California is very vulnerable to these fires, which are part of the eco-system, and the fact that we have had a drought for several years, makes massive fires a very likely probability.

Where we live, we are in a valley surrounded by mountains. So far, we have not had anything major since moving here nearly five years ago, but I wouldn’t be surprised if our time will be soon. So many things can cause a fire, from a spark from electrical equipment to a bird on fire after hitting a power line (yes, it has happened), that you just don’t know where it will occur. You just need to be ready. Fires and earthquakes – a fact of life in California.

This week, our very good friend, Jerry, and his wife, Raka, have been here from Japan. They were married a year ago, and only now is their wedding reception being celebrated by their friends and family in the U.S. And, their first child is on the way! It is so good to see them, and wonderful to have the time to visit. They return to Japan tomorrow.

For me, the end of my all-too-brief summer holiday is winding to a close. I’ve had a few weeks off from students and school, but I still have had to deal with them even though I have tried to keep it to a minimum. We all begin again on 1 September.

I am also becoming a student again. Now that I have finished my teaching credential, the brain finally has time to pick up Japanese once again. I’ve tried different routes, but nothing seems to have been successful. I tried a community college class two nights a week while working on my credential. Beret Patt - First Page Too much work on all levels. Another time I tried a language class offered through a local adult school, but did not learn anything. Now I am trying to do it once more, this time through the Oxnard Japanese Language School. As the course meets state high school language standards, I expect it will be much be more to my liking. My class is for beginning adults; there are five adults, and seven kids, the youngest of whom is thirteen. Once we all settle in, I think it is going to be a lot of fun.

Finally, I’ve written down a very windy “how to” for making your own beret. Take a look at it. The purpose of this “Basic Beret” pattern is to help out the beginning knitter trying to design a hat. You can find the file on Ravelry, or here on the Pattern page, or under the heading of “Matataki Designs” to the right.

Yarns of the City – 27 August 2009

Village Spinning & Weaving

For the fiberholic on a road trip through the central coast area of California – north of Santa Barbara – the Village Spinning and Weaving shop is a must-do. This summer, John and Marsha, the proprietors, celebrated their eighteenth anniversary in the same place by being able to more than double the size of their store by expanding into the retail area next door. When Josh and I visited them in June, they had just broken through the connecting wall.

Some of our closest friends, Stephanie and Jay, were living in Solvang at the time Village Spinning opened. Stephanie is a full-time weaver, and I primarily a spinner/knitter – of course this was heaven for us! And Solvang is always good for a lazy day or a short trip if you live nearby, or need cookies or chocolate or cutlery, or you are on your way to the wine country. (I recommend the large cookie boxes at Mortensen’s Bakery, Ingeborg’s Chocolate, and Nordic Knives, if you need to satisfy some other vices.)

Anyhow!

As you walk in the main door – which will probably still be the only entrance to this fiber wonderland – you enter the current store, filled with yarn, fiber, weaving supplies, looms, spinning wheels, roving, bats, books, dyeing supplies, knitting needles, and on and on. You want it, they probably have it. (Notice, I did not say “need“!)

Getting extra space at Village Spinning & Weaving will benefit everyone. The new space has a lot of lighting, both natural and installed. All this will allow better display of looms and spinning wheels, which is really important if you want to check out how an item looks, or feel how a wheel spins. There will be room for knitters. Some lucky group will get to sit around the fireplace, but the sunny windows are not a bad place to be either. As you can see below, there is a lot to look forward to – at least there was in June. I hope they are all moved in and ready to go!

The service you get at Village Spinning & Weaving is wonderful. And they have a lot of stuff – dangerous! This is what they say on their “About Us” page:

Solvang’s Village Spinning & Weaving Shop was started in 1992 by John Novak and Marsha Mullaney-Novak. This shop grew out of our desire to simplify our lives and provide the best possible service and products — something we find lacking in much of today’s world.

Whether you are looking for a new loom or some cochineal for dyeing or maybe a new tatting book, check here or give us a call.

We carry much more than we can possibly list here, so… we have several different print catalogs – you can download a pdf file from this website for many of them. As things change, sometimes too quickly, prices in our printed catalog may not always be completely up to date.

John and Marsha are very knowledgeable about the products they sell. Inventory includes so many books you think you have died and gone to heaven, wheels to test drive, looms both large and small. John takes a lot with him when he does shows such as the Black Sheep Festival, Stitches, or Convergence. Many of you may have met them at one of these events.

For those unfamiliar with Solvang, it is a small town off the 154 and 101, about 30 miles north of Santa Barbara. The Sant Ynez valley is a beautiful place, and as you come over San Marcos Pass into the valley on the 154, the view is breathtaking. This valley, toward Santa Ynez, is where the movie “Sideways” was filmed.

I’m looking forward to my next trip to Village Spinning & Weaving, to see how the expansion is going, to finger fibers, play with wheels, peruse books I have never seen. My pocketbook may suffer a bit, but it sure is worth it!

See you there, and tell ’em I sent ya!

The Weng Collection and Chinese Garden at the Huntington Library

I have a fairly decent knowledge of different time periods in western art history, and some familiarity with many forms in which it is produced. I’ve worked with oils, acrylics, watercolors, done etching, stone lithography, and other forms of printmaking. Being familiar with techniques gives an appreciation of the process the artist goes through to create a work. I’ve also studied art history a bit, and know what occurred in what time and place, understand the evolution of styles, and can recognize a fair number of renown western artists.

Studying Chinese painting is very different because there is not the cultural context of brush and ink, nor a sense of the symbology of many of the subjects. To the western eye, it has been written, much of the painting and ink art of Asia is not understood. I’m inclined to agree, because although I love the elegance and simplicity of sumi ink painting, my cultural background and training can make the art of Japan and China at times difficult to appreciate.

The Weng Collection – “Treasures Through Six Generations – at the Huntington Library in San Marino, California, was eye-opening. Spanning about 900 years in time, from the 1200s to present day, calligraphy and paintings, large (a 53′ scroll) and small, filled a couple of rooms. There wasn’t so much that it was overwhelming, but enough to appreciate a sense of time and history in Chinese painting. It was through this continuum of paintings that I got a sense of history and development, as well as an appreciation for the symbolism, the individuality expressed within traditional subject matter, and, I think, a sense of Chinese cultural time. I was able to look at a painting and recognize how it was done – the movement of brush and ink, the addition of color. Brushwork and style was recognizable, as both fine line and more spontaneous styles were shown. The calligraphy was beautiful, ranging from “letters home” to loved ones, to a large, magnificant scroll of “hu” – tiger.

Newly completed in 2008, the Garden of Flowing Fragrance is nearby the exhibit. After leaving the exhibit, we wandered down the hill, and into a grove of pine trees – so like the ones depicted in the scrolls in the exhibit, and so like the ones shown as samples in The Mustard Seed Garden Manual of Painting. From there, a setting of young black bamboo.

The grove leads to the ponds and streams which have numerous koi, trees (willows and native oak), pavilions, and bridges. The eye is led here and there. Details small and large wait to be noticed. Architecture, plants, and water create a living handscroll.

The Weng Collection, the Chinese garden, The Mustard Seed Garden Manual of Painting, and my monthly Chinese painting class have conjoined into a single experience. Somehow, I understand the history of Chinese painting better – nearly a millenia of tradition has been seen (and who has touched these paintings? who made them? who unrolled them in lantern light to enjoy them?) – a garden of trees and flowers, an earthly aesthetic – a “how to” book that is about 500 years old, and still being printed – and finally, doing the brushwork myself, as generations have before.

The catalog which accompanies this exhibit is well worth the 25.00 price – I know I will continue to enjoy this exhibit long after it leaves the Huntington. It gives the history of the collection, and detailed information about the work displayed. These pictures will give a sense of the contents.

If you ever have the opportunity to see this exhibit, go! And if you are in the Los Angeles area, visit the Huntington Library. The grounds are incredible. The gardens are beautifully laid out, one leading to another. We went on a Friday, had a picnic on the lawn (you cannot bring food into the gardens), and wandered through galleries, gardens, and had a peaceful time. In four hours we could not see enough. We shall return!

Excursion: Treasures through Six Generations

Tomorrow I will be heading down to the Huntington Library with a friend. This is a rather pleasant, serendipitous excursion because while in South Pasadena, at Gus’s, I saw a poster for this exhibit, Treasures through Six Generations: Chinese Painting and Calligraphy from the Weng Collection. In the back of my mind I thought it would be worthwhile seeing, but not sure if I could organize my life enough to get to it. The biggest intimidation factor is I just don’t like driving in L.A. traffic! I’ll be meeting up with my excursion buddy in the valley, and as I am driving the first half, chauffering will be provided the rest of the way.

The Weng Collection has an interesting history behind it. According to the press release of Feb.23, 2009 from Huntington:

The history of the Weng family and their art collection reads like an epic novel, mirroring the tumult of 19th- and 20th-century China and its ensuing diaspora. Assembled primarily in the second half of the 19th century, the collection is legendary not only for its superb selection—it contains masterpieces of brush and ink spanning 900 years—but also for the remarkable individuals who have been responsible for its formation and safe-keeping. The works of art have survived repeated dynastic changes, protracted warfare, and journeys across continents, remaining almost miraculously unscathed under the care of this family.

The Weng collection has been in the same family for six generations, beginning with Weng Xincun (1791–1862). Xincun’s son Weng Tonghe (1830–1904) and the collection’s current owner, Wan-go Weng (b. 1918), are particularly celebrated for their remarkable achievements.Weng Tonghe, the family patriarch who formed the nucleus of the collection,was a preeminent figure in late Qing China.He rose to prominence when he placed first in the 1856 metropolitan exams for the jinshi degree and became a zhuangyuan (“First Scholar of the Nation,” as Wan-go Weng likes to say). Weng went on to tutor two emperors, Tongzhi (r.1862–74) and Guangxu (r. 1875–1908). The latter studied with him for a total of 24 years and regarded him as his closest adviser. In addition, Weng also held some of the highest positions in the government. He is remembered in history as the leader of the pro-war faction during the Sino-Japanese war in 1894–1895 and, through his introduction of the radical reformer Kang Youwei (1858–1927) to Guangxu, for his early influence on the emperor’s Hundred Days’Reform in 1898.

Weng Tonghe’s collection was passed down to Wan-go Weng, who brought it to the United States in 1948. Wan-go Weng is himself a modern-day Renaissance man—filmmaker,poet, scholar and civic leader—whose English films and publications on Chinese history and art have been widely influential among both scholars and general readers. Under his leadership in the mid 1980s, the New York–based China Institute rebuilt its reputation as one of the leading centers for the promotion of Chinese culture in the United States . . . .

The gardens at the Huntington Library are renown. There are themed gardens, such as a Chinese one which is a perfect parallel for the Weng exhibit, a Japanese garden, a desert garden, a Shakespeare garden, and more. If you want to see what is in bloom, for instance, this month, you can click here.

I’ve lived in California most of my adult life, within close proximity of the Huntington – never more than 100 miles – but this is my first trip, and I’m as excited as a kid going to Disneyland!