Back from my adventure in Covelo: the katazome workshop with John Marshall. The road to Covelo, CA follows the Eel River, officially Wild and Scenic. A wonderful place to swim too!
Eel River, on the way in and out of Covelo, CA
Classes take place in John’s home/studio, a restored flour mill. The dates on the facade are 1888-1914-1999. The name of the gorgeous pink flowers escapes me.
The Mill
A few insights: Yes, I have been making my rice paste too thick, and the raw paste too dry. Revelation: golf balls and dough-nuts are unnecessary. I really like this! Here, the raw paste is ready to steam.
Rice past resist ready to steam.
I have been working with freeze-dried indigo this summer, and it was great to observe the preparation of the vat and then the re-heating of the vat the next day. Here are pictures from our indigo experience.
Introducing the freeze-dried “instant” indigo to the vat:
Adding indigo to the vat of body temp water
Here are two ways of skimming the oxidized bubbles, “aibana” or indigo blossoms, from the top of the vat, which is necessary unless you want the dark spots of bloom on your work.
skimming method 1
skimming method 2
Using the 2nd method is great — you can then dry the bubbles and use them as indigo pigments along with the soymilk.
attaching cloth to frame
Ready to dip the cloth. (That’s my Covelo house-mate Eva Pietzcker, an artist from Berlin who makes gorgeous woodblock prints in the Japanese tradition.) John has a rope and pulley system, used primarily for larger pieces of work which need the larger ceramic vat (which you can see behind John). These containers are from China and were originally designed to hold soy sauce.
ready to dip
In goes the cloth … count to three … pull it out and over the outside edge of the vat to drip. You want to avoid introducing oxygen. John’s rule of thumb: the rice paste resist can withstand three brief dips, then must hang to dry before further dunking. If you want it darker repeat that until you achieve the depth of color desired. Observe the paste — you want to stop before it starts to break down.
into the blue
See the lovely dark green which will turn blue as it oxidizes …
dark green turns to blue with oxidation
Afternoon break most days featured home-made shaved ice! John has a lovely Japanese cast-iron hand-crank machine with gears – the ice sits vice-grip-like in the machine on top of a flat blade. A hand crank turns the blade and the shaved ice falls into the bowl below. We tried it with powdered green Japanese tea and sugar syrup on top; and with home-made blackberry sauce! Yum! I was too absorbed in the experience to take a picture, but found this short video on YouTube that features a similar type of machine.
The hot dry air in Covelo is perfect for working outside, stretching fabric between uprights of the Wisteria arbor.
arbor and yard
placing shinshi
Oh, and I must not forget Nutmeg, the cat.
Nutmeg
Many fine experiences to reflect upon over the clouds of Colorado and beyond!
clouds above Colorado
This week I bought a piece of handmade Japanese Kozo, cut it up into 10 pieces and then made my own momigami, or “strong paper.” This is done by coating the sheets with konnyaku starch, which comes from the Devil’s Tongue root. It’s a powder you mix with water, brush on both sides of the paper and then crumple the paper into a loose ball.
kozo coated with konnyaku and scrunched
While the paper is still damp you crumple it more and work the surfaces together. The more you work with it, the more like cloth it becomes. Then spread each sheet out to dry flat on a table.
kozo wet with konnyaku starch
This treatment makes it receptive to dyes, and easy to stitch. I get my kozo and konnyaku from Wet Paint Art in St. Paul, and they get it from the Japanese Paper Place in Toronto. (Check my Resources Links.)
dry momigami
I wanted it flat (not perfectly) so I could mount my silk pieces to it, so I ironed it. I really like the wrinkled surface and the color of the kozo. And it’s a dream to hand stitch.
katazome dove on silk broadcloth, natural pigments, hand-stitched to momigami
This Saturday and Sunday I’ll be at Loring Park Art Festival.
Gardeners & art lovers enjoyed good weather for last Saturday’s Art and Garden tour. I was situated in a garden in front of an historic (1910) St. Paul home, one of several Peace Garden sites in the Twin Cities. The gardens and plants were the stars of the tour. This garden was all about the rich textures and colors of leaves, and the structures of plants and shrubs. Here is just one example.
wow! leaf color and variety
I set my runners and hangings on trellises, and placed my pillows on the brick stairs leading to the massive front porch. I really enjoyed them as garden decoration!
Garden view with katazome work in place
I got back to the studio yesterday as I have a couple of weeks left to prepare for the Loring Park Art Festival. This morning I discovered that I accidentally recycled one of my smallest stencils along with the newsprint used to blot and flatten it after use. This is something John Marshall warned us about, and now I have learned the lesson! The stencils are soaked before and after use, blotted with newspaper, and flattened under books before storing them away for the next use. So if you layer a bunch of stencils between newsprint under a pile of books, tossing one away is a bit of a risk when you are ready to put them away a day or two later. On the up side, it forces you to improvise a little. Instead of pasting my usual minnow symbol on the back of this batch of pillows, I’ll be pasting a little Egret, which has also become one of my symbols!
Here are today’s stencils soaking in a tub of water before pasting.
katazome stencils soaking