Lighthouse Loom Warp
From Shetland
November 2017
Graphite Pencil on Cotton Watercolour Paper.
Chained warp used on a loom currently situated at Bressay Lighthouse. This loom originally came from Williamsetter, near Bigton, Mainland Shetland, and was owned by a crofter for whom weaving was only one part of his varied income.
Over the last several years, I've started drawing various kinds of machinery and equipment used in weaving. Once a skilled hand-craft and a cottage industry, weaving quickly became industrialised with the mechanisation of the modern age. In drawing older pieces of hand equipment in particular I've become interested in documenting them as historical artefacts, made unique through age and use, and also in exploring drawing as a process of understanding structures and mechanics.
In early 2017, I spent time making studies of weaving equipment at Farfield Mill, Cumbria, a museum and working mill. Many items similar to those on display and in use at Farfield can also be found in the Shetland Isles, Scotland where I currently live - remnants from the islands’ often overlooked but once active weaving industry. Weaving was a process which could be traced in stages, beginning on the land with the rearing of sheep, and ending with the use or sale of finished garments and cloth, items which made up the materiality of everyday life. With the onset of global mass-production, however, this is now a materiality which has become increasingly complex - and more often very damaging to our natural environment.
I see the drawings I've made so far as the start of an on-going series and by continuing, I hope to further explore my preoccupation with the nature of progress. In choosing to make ‘realistic’ studies of these items, I investigate the potential of drawing as not only the production of images of surface-reality, but also a way of gaining knowledge of workings and processes, of real looking and understanding of the material world around us. With the older pieces of domestic weaving equipment I've studied so far, it is possible to understand their mechanics – the workings of peddles, levers, pulleys and wheels – through just careful looking. But with today’s more advanced and complicated technologies, this is mostly no longer possible. There are many things we encounter every day that we have no hope of fully understanding. I am interested too in the effect this might have on our grasp of the material world around – and ultimately whether our ‘advances’ can in fact lead us to become further disconnected.
WHEELS
Shetland Spinneys I & II
March 2020
Graphite pencil on warm toned paper
This traditional spinning wheel was owned by the grandmother of late local musician Alan Anderson. It’s a very interesting well-used object, and even has a piece of sealskin fashioned into a connector between the treadle and fly wheel.
Contribution to ‘Quarantzine’, Gaada’s online, open zine of art made in self-isolation, March – June 2020. View here.
Delting Bobbin Wheel
From Shetland, November 2017
Graphite pencil on warm toned paper, 43.5 X 54cm (framed)
Wheels of this traditional design were originally made for spinning the thicker yarn used to weave ‘wadmal’. Known as Muckle Wheels, they were often later adapted and became also used to wind bobbins or ‘pirns’. Wheel part of Shetland Museum and Archives Collection
A Great Wheel
From Farfield Mill, Cumbria, May 2017
Graphite pencil on warm toned paper. 43.5 X 54cm (framed)
Originally designed for spinning, these traditional wheels were often adapted to wind bobbins or 'pirns', spools of yarn small enough to sit inside the weaver's shuttle.
LOOMS
Unst Loom
From Shetland, November 2017
Graphite pencil on warm toned paper, 43.5 X 54cm (framed)
Hand built by Tom Hughson of Unst, this Swedish-style loom features a reused bicycle wheel for a winding mechanism and fishing floats to separate the treadles. Also a crofter and postman, Tom used wool from his own sheep to weave scarfs, rugs and lengths of cloth in soft natural colours. Loom on display at Unst Heritage Centre, Haroldswick, Unst.
This drawing is part of the Shetland Museum Collection.
Douglas Andrew Loom
From Farfield Mill, Cumbria, May 2017
Graphite pencil on warm toned paper, 43.5 X 54cm (framed)
The loom is drawn here in the process of being 'dressed' or warped up. The warp is being threaded onto the loom from front to back - the warp chains (chained yarn) that can be seen in the drawing are at the front of the loom.
Arrol Young Studio Loom
From Farfield Mill, Cumbria, May 2017
Graphite pencil on warm toned paper, 43.5 X 54cm (framed)
At one time this studio loom, used to weave samples, had a flying shuttle mechanism fitted. This innovation allowed the shuttle to be automatically carried across the warp when the mechanism was released (rather than the weaver passing it across by hand), meaning cloth could be woven faster.
Witney Blanket Loom
From Farfield Mill, Cumbria, May 2017
Graphite pencil on warm toned paper
This very large hand-loom is around 12 feet in length, and was used to make Witney Blankets. The blanket industry from the Witney area of Oxfordshire thrived for 300 years. Looms like this one were used until around 1860, though this example dates from about 1702. Its fly-shuttle mechanism was added c. 1800.*
Lighthouse Loom
From Shetland
2016
Graphite pencil on warm toned paper
A fly-shuttle loom originally from a croft at Williamsetter, near Bigton.
This work is named ‘Lighthouse Loom’ as had been kept at Bressay Lighthouse now for several years after being used for demonstrations during previous Wool Week programmes.
Williamsetter Loom
From Shetland
2018
Graphite pencil on warm toned paper
Alternative view of the same fly-shuttle loom originally from a croft at Williamsetter, near Bigton.
This view also includes an Arrol Young seat for the weaver to rest on whilst weaving.
Other Equipment
Box Creel
From Farfield Mill, Cumbria
May 2017
Graphite pencil on warm toned paper, 43.5 X 54cm (framed)
This example dates from around the early 1900s. The creel is used during 'warping up' and allows the weaver to draw yarn from cones, up through small hooks (at the top of the creel), and then onto the warping board.
Warping Board
From Farfield Mill, Cumbria
May 2017
Graphite pencil on warm toned paper, 43.5 X 54cm (framed)
On the warping board, yarn (from the box creel) is wound back and forth around the pegs until the desired length of warp is reached i.e. the length of fabric required.
EXHIBITIONS
Working with Wool, Speldiburn Cafe, Bressay, Shetland, September - October 2022
Showing Lighthouse Loom Warp, A Box Creel, Warping Board, Delting Bobbin Wheel, Douglas Andrew Loom, Shetland Spinney I and II
Studies At A Mill : Drawing & Weaving, Speldiburn Cafe, Bressay, 19th May 2017 - 30th July & 25th September - 22nd December
Showing six drawings of weaving equipment, all domestic-scale hand weaving items (apart from 'Witney Blanket Loom') found at Farfield Mill, Cumbria. The order the drawings were displayed in follows the stages of preparing for weaving - spinning/preparing pirns, making the warp, dressing the loom, and finally weaving: A Great Wheel, A Box Creel, Warping Board, Douglas Andrew Loom, Arrol Young Studio Loom, Witney Blanket Loom.
Materials and Methods, Speldiburn Cafe, Bressay, 22nd - 30th september 2018
Showing previous drawings plus Lighthouse Loom Warp, Delting Bobbin Wheel and Unst Loom.
Home and Away, Shetland Museum, Lerwick, 25th November - 22nd December 2017
Showing Delting Bobbin Wheel, Unst Loom, Lighthouse Loom Warp, Warping Board and A Box Creel
TEXT
‘Studies at a Mill : Drawing & Weaving’, 2017. Accompanying introductory text including details and history of the weaving equipment in the drawings.