Tag Archives: beading

The life-cycle in Moroccan Jewish textiles

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Anna Vandelman writes:
My dear friend Suzanne Benchimol came to the Guild’s February meeting to teach us about Moroccan Jewish  textiles. Most in attendance had no idea of the exquisite, sumptuous clothing they were about to see.
Suzanne made it most interesting by taking us through the lIfe cycle of clothing from the garments and wrappers of the Brit Milah to the henna ceremony garb and wedding dresses. WOW! She detailed for us every inch of each piece.
Suzanne is a very accomplished designer and seamstress. This is most evident in the unbelievable work on the layered wedding ensembles she creates. We saw some examples in photographs but the highlight of the night was the outfit we could examine – layer by layer – as Suzanne dressed our model, member Barbara Goldstein – a recent bride herself. We were impressed by the perfection of each embroidered stitch, bead, and decorative textile, no matter what we were shown.
Today many brides prefer to wear white gowns for their wedding day. So, it has become a custom that the richly embroidered dress and matching headress (the bride is seen as a queen and so a crown is essentia!l), is worn for the Henna Night, when all women add henna to the bride’s palms. The layers of the gown are designed to be adjustable in fit. The gowns were often shared around within families and communities, or loaned to poor families.

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Suzanne explained every custom, from the engagement to the henna night to the wedding day to the Brit Milah to the Bar Mitzvah and so on. She used videos to show us the ceremonies with the customary textiles in use. So, for example, the Brit Milah besides being shown on film was enhanced by the baby’s dress itself that we could see and touch. And the henna video let us see how family members would help support the crown, and gown. And we could also hear the typical ululations!

We were allowed to touch the textiles she brought for us to examine, including beautiful old silk shawls and heritage tallit bags. Besides being totally involved in the textile art of life- cycle clothing Suzanne actively invents and plans programs for residents and patients at Baycrest in the Home and Hospital and she has been honoured as a Baycrest treasure having her photo added to the wall in the Silverman Court.
Thank you Suzanne, for this special, informative  and delightful evening!

Spirit of the Bead

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Anna Vandelman writes:

Naomi Smith, our guest lecturer on Jan 18th 2017, shared the “Spirit of the Bead” and “Indigenous Stories of Beadwork” with our Guild, introducing us to the work of several First Nations peoples.

Many beads were acquired through exchange during the fur trade. Early beading was done with extremely small beads (sizes 22 and 24 – the smaller the number the larger the bead). A common object for beading were six-sided flap bags made for both native and non-native purchasers. Patterns included crosses depict the four corners of the world as well as other symbols interpreted through beads. Florals motifs appeared on pouches likely of Seneca origin. Some embroidery also shows added ribbons with beading on the ribbons. Decorative items were not differentiated as “art” but are fundamental artifacts.

Naomi showed us some of the popular techniques, including the use of paper templates and double-beaded edges. She showed us how purses opened in the back and not by lifting the flap.

From the 1870s to about 1910 beads get thicker with sizes 9 and 8 being used. Clear beads can be seen on the paper templates overlaid on navy blue velvet. New objects are created: pin cushions begin to appear along with hat pin cushions. By about 1921 there were more new products, including matchstick holders. And as photography became more prevalent there were beaded photo frames.Selling these products created a way for women to survive.Travelling sales saw tribe members carrying up to 2000 lbs. of bead work across the country.

After the slide show we were all invited to view – and touch! –the artifacts. Of great interest were the exquisite cuffs and collars. We could feel Naomi’s pride in her history. But beading remains a living activity: Naomi told us about a current commemorative art installation, “Walking with our Sisters,” where beaded moccasin tops symbolize indigenous lives cut short.

Altogether a rich opportunity to glimpse another culture through textile techniques.

About Naomi Smith – Beader
Naomi is a First Nation Artisan and Educator. She is actively involved in educating others about the ways of the First Nations people of the Woodlands and Northeastern area from a historical and contemporary perspective often through the story of beads. Her work embraces ancestral designs in the form of bags, adornment and traditional accessories. Naomi’s work has been exhibited across Canada and internationally. She has exhibited at the National Museum of the American Indian (NMAI) in Washington DC and NYC, Vancouver 2010 Olympics and participates in numerous Native and non-Native events throughout the year. Her work has been acquired as permanent collections at the Art Gallery of Guelph, Niagara Historical Museum, and private acquisitions throughout the world.

Naomi is an accomplished public speaker and enjoys educating others about the culture and life ways of the Woodlands or Great Lakes First Nations peoples. She always welcomes and feels honoured by the many opportunities to share her cultural legacy.
 
Artist’s Statement:
“Honouring our traditions is my voice within and beyond my Culture and Community. Traditionally there is no word for “art” in Native languages yet artistry and visual expression are critical in defining who we are as First Nations people. It is this path I wish to exemplify through my teachings and my work”.

An evening of Bling! Bling! Bling! Turning Trash into Treasures

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Anna VanDelman writes:

On this winter night, two dozen Pomegranate members came together with the warmth of camaraderie for an evening workshop, turning trash into treasures.

Paula Miller – teacher, exquisite fabric artist, designer, inventive recycler – presented instructions for the transformation of junk into brooches using discarded beads, threads, paint, fabric charms etc. Members brought their own stash items and The Guild brought out enormous quantities of resource materials.

Thanks to Paula’s display of items she brought and created for this project, we were inspired to create our own new treasures. This programme reminded us of how important it is for us to work on various projects in an atmosphere of friendship and shared ideas.

Thank you Paula for a memorable evening!

 

Show share and quell – eye candy!

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Anna Vandelman reports: On June 17th members of the Pomegranate Guild of Judaic Textiles, Toronto came together for the culmination of the year, our closing meeting featuring the work of our hands. What a treat for all who attended! Here is some eye candy for you.

Select any picture to start a slide show and see artists and titles, or refresh your page to rearrange the images.

The Pomegranate Guild of Judaic Textiles, Toronto wishes everyone a productive summer of stitching, knitting, felting, beading, embroidering, quilting, weaving…..

Celebrate: Ourselves

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Anna VanDelman reports:
Once again Guild members had to embrace a dark and windy rainy/snowy drive to Temple Sinai, and it was well worth the effort. Anne Marie Desaulnier’s work is entirely breath taking! It is an excellent example of an intuitive approach to art-making that reveals the maker.
Anne Marie with her work

Anne Marie with her work

Anne Marie has a passion for techniques and a love of fabric, paper, beads, recycling and found objects. Many of us recalled her last presentation to us which left a deep impression.  She is a self taught artist who credits her current direction to a combination of early exposure to fabrics as a child, school art classes, books and the internet. Robin Atkins’ on-line bead journal project continues to play a role in her life. Anne Marie is a curious, intuitive fibre artist with a serious magpie mentality who excels in the blending of techniques and materials. Serendipity, colour, nature, family, friends and visual journaling are the threads that tie her work together.

http://artfuldreamer.blogspot.com for more by Anne Marie, and info@beadfx.com to inquire about her winter and spring workshops.

Fibrella

Fibrella

Anne Marie’s soft fibre arts doll “Fibrella” caught our attention as we walked into the room. And we were caught up in the amazing pieces of beaded work in fibre stitchery she had on display for us. Her dedication to journaling is special as she says it helps to put her into a piece by exploring what’s going on in one’s life and family. While working on a textile memorial to her late brother she became obsessed with beading and she showed many magnificent examples of her work. Among her other explorations, Anne Marie has experimented with three dimensional beaded forms (requiring curved needles and lots of patience) and fibre bowls formed on balloons using wallpaper paste.

In the second half of the evening, as Rikki Blitt generously emptied her beading collection onto the workshop tables, Anne Marie came round to each table to demonstrate and help us with several bead stitches. In addition to beads, Anne Marie uses everything possible in her work: buttons,  jewellery, leaves, odd ends of jewellery, glass, doll faces out of paper clay, found objects – among many others.  
Textile self-portrait

Textile Self-portrait

Anne Marie showed us several examples of beaded textile self-portraits that formed the impetus for our upcoming 2015 challenge. It was an amazing evening that encouraged us all to continue to work on our beaded samples and to learn from Anne Marie’s philosophy: ALLOW YOURSELF TO PLAY.

For more textile portraits, see this Pinterest board, or do a web search for “textile self-portraits. http://www.pinterest.com/dianey1/textile-portraits/

Thanks to Reesa Wasser for photos, and Anne Marie Desaulniers for permission to share her work!