#hand-woven

Isamu Noguchi, Study for an Absent Sculpture (Tapestry), 1974,

Hand-woven linen and cotton,

After Alexander Calder, "Floating Circles tapestry," 1974,

Produced by CAC Publications and Bon Art, Guatemala,

Hand-woven maguey fiber,

Coming to Bahari Museum in Jakarta for my otacult trip (otaku-cultural trip or I usually mentioned it as wisata berwibudaya — in Bahasa Indonesia) because I wanted to visit my personal most wanted & must see exhibition named Ghost Nets: Awakening the Drifting Giants by Erub Arts.

Ghost Nets: Awakening the Drifting Giants exhibition

The exhibition showcased about 18 aquatic species shaped hand-woven sculptures made of ghost nets (discarded fishing nets waste) by Erub Arts; Eruban artist collective from Danley Island, Torres Strait. The exhibition is also a collaboration between Australian Embassy Indonesia and Erub Arts.

Through their artworks and large-scale installations from ghost nets, Erub Arts sends awareness regarding not only environmental issues across the Torres Strait, but also marine conservation efforts.

The colourful and eye-catching details of stingray hand-woven sculpture

I really took my sweet time here to admire and appreciate every single eye-catching and colorful detail of the hand-woven sculptures, which really left me in awe. Though, the room and lighting kinda didn't do justice.

Other hand-woven sculpture of aquatic species

Location: Maritime Museum Jakarta

Cheers,

Benjamin Benmoyal, “It Was Better Tomorrow”,

All of the clothes are made of discarded video and cassette tapes.

The colorful and highly textured garments were hand-woven by Benmoyal; he used a combination of recycled yarn, the metallic grey tape that slithers through the spokes of VHS tapes, and Tencel (a wood-pulp-based fiber) to create the collection. 

etsyfindoftheday | 9.2.19

white dresses by fooldost

daytime tie-waist dress

sleeved boatneck tunic dress

Jordan Nassar. Memories, 2018.

‘Anna Maria Garthwaite was born in 1690 and became one of the leading pattern drawers in the English silk industry despite the likelihood that she did not receive the formal technical training usually considered necessary to take up such a profession. She produced as many as 80 commissioned designs a year, such as this one, for master weavers and mercers. She lived and worked in Spitalfields, London from about 1730 until her death in 1763. Her interest in natural form – and her talent for depicting it – characterized her designs throughout her professional life.’