From double weaving to microfilament “flat” hangings

Family that saved her belongings during World War II Thriving art culture at camp Leaving everything behind On the process of making her leaf bowls On the process of creating her Japanese paper bowls From double weaving to microfilament “flat” hangings Marriage to Bob Stocksdale Moving to Cincinnati after Topaz Learning how to weave Mother also wove growing up

Transcripts available in the following languages:

Trude taught us how to do double weaving. So I put a small sample on my loom, thinking that I'll just try a little piece and double weave, and by golly, when I took it off the loom, I saw that I had crossed the lairs, and when it came off the loom, I could see that if I chose the right material, it would open out and stay open. And then I tried a piece in nylon monofilament, which lengths were given to me… I put the monofilament on the loom and tried my double weaving, and by golly, when I cut it off the loom, I had a monofilament hanging. So that was the beginning of my whole series… The first ones, I called them ... they were the flat pieces, because if you flattened them, they would be flat. But then I knew in weaving you could go around and around and around, and you could make a tube. So, using that idea, I turned one of those monofilament hangings into a tubular piece, and that kept me going with more ideas about making them a little bit more sculptural.

Date: November 23, 2018
Location: California, US
Interviewer: Patricia Wakida
Contributed by: A Co-Production of the Watase Media Arts Center, Japanese American National Museum and KCET

art artist weaving

Get updates

Sign up for email updates

Journal feed
Events feed
Comments feed

Support this project

Discover Nikkei

Discover Nikkei is a place to connect with others and share the Nikkei experience. To continue to sustain and grow this project, we need your help!

Ways to help >>

A project of the Japanese American National Museum

Major support by The Nippon Foundation