Mary Zicafoose

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Mary Zicafoose
Mary Zicafoose Wayne Art Center 2021 01.jpg
Mary Zicafoose, in front of Sandhill Crane Count, Week Number 7, Platte River, 2021
Born
Mary Brelowski [1]
NationalityAmerican
Alma materSt. Mary's College, Notre Dame, IN
Known forIkat weaving
Website www.maryzicafoose.com
External video
Nuvola apps kaboodle.svg “Mary Zicafoose”, Directed by Jeffrey Hahn, Midway Film
Nuvola apps kaboodle.svg “Fault Lines: Mary Zicafoose“, 2017

Mary Zicafoose is an American textile artist, weaver, and teacher who specializes in ikat , an ancient technique in which threads are wrapped, tied and resist-dyed before weaving. Zicafoose is the author of Ikat: The Essential Handbook to Weaving Resist-Dyed Cloth (2020). [2] Her works are part of private and public collections, including at least 16 embassies around the world as part of the U.S. Art in Embassies Program. [3] [4]

Contents

Education

Mary Zicafoose ( née Brelowski) grew up in Niles, Michigan. [5] Zicafoose studied photography [6] and received her BFA in 1973 at St. Mary’s College at the University of Notre Dame, Indiana. She then moved to Chicago, [1] [7] studying at the Art Institute of Chicago and later to Nebraska, studying at the University of Nebraska. [7] [8] During this time, she worked in clay [6] and made "functional and beautiful tableware". [9] She also lived in the Bolivian rainforest for year before settling in Omaha, Nebraska, in 1996. [1]

Zicafoose is predominantly self-taught in her textile work. [10] [11] She first used a loom to weave while studying for an MFA, and the experience proved so transformative that she chose to leave the clay program at the University of Nebraska to pursue weaving. [12] She credits the "generosity, patience, and honed skills" of members of the Handweavers Guild of Lincoln, Nebraska, in helping her to learn her craft. [9] Zicafoose has also traveled internationally and studied the traditions of ikat work in different countries. [10] [11]

Many of her early works were rugs. In 1984 she began working with a 45-inch-wide (110 cm) loom. Later she began using a 72-inch-wide (180 cm) Macomber loom. [13] As of 2004, her two working looms were a 64-inch-wide (160 cm) Macomber and a 96-inch-wide (240 cm) Cranbrook. [9]

Textile work

Ikat weavings are the result of a complicated process in which threads for weaving are laid out, wrapped and tied with tapes, submerged in dye vats, removed, untied and dried, and eventually used for weaving. [6] Wrapped sections of thread tend to resist the dye, but the results are unpredictable, as some dye can wick under the tape. This gives the pieces spontaneity, a "serendipitous alchemy" of "new and unexpected colors". [6]

Zicafoose dyes all her own yarns, [6] often repeatedly overdyeing the yarn to achieve rich, deep colors. [13] She has developed a personal library of over 1,000 dye recipes. [6] She is known for her use of bold, saturated color, inspired by both ancient textile traditions and the works of modern artists like Mark Rothko. [9] [14]

Zicafoose is known for making extremely large pieces of weft-face ikat, which can be many feet in length. A 10 by 10 feet (3.0 by 3.0 m) piece woven of silk thread might require 80,000 ikat ties, each of which must be wrapped, tied, and then untied again after dyeing. [6] Preparation of the thread for a piece, even with the help of studio assistants, can take more than a year before Zicafoose starts the actual weaving. [11]

The work requires careful, painstaking planning. When developing a design, Zicafoose begins with a small sketch, then creates a line drawing to scale on graph paper, and finally a full-size color mock-up that she will refer to as she works on the actual piece. [9] Zicafoose describes the process:

Ikat is based on math, geometry, dye chemistry, and the ability to think and design abstractly — expanding shapes and images at the ikat board to then severely compress them at the loom. It also requires an abnormal otherworldly amount of patience with process. [6]

The work takes weeks. As the planet speeds along, the weaver sits hour by hour, day by day, slowly and steadily building a tapestry ... Nothing in the making of a tapestry happens quickly. It is a deep inward breath, a meditative activity that draws you in, not out. [15]

She began The Blueprint Series during a residency at the Bemis Center for Contemporary Arts in Omaha, in 2008. Zicafoose considered fingerprints as universal indicators of personal identity. She wove an edition of seven Blue Print tapestries. The final Blue Print #7 presents two fingerprints next to each other across three panels. The triptych used 68,000 ikat ties and took three months to wrap. Zicafoose made three versions of this triptych, two using silk and another using wool. [16]

Her paired pieces Hope & Healing, each larger than 12 ft × 9 ft (3.7 m × 2.7 m), used 1,000 skeins of yarn and took nearly a year to create. They hang together in the Fred & Pamela Buffett Cancer Center of the University of Nebraska Medical Center. The pieces include the words for hope and healing in 16 different languages. [7] The center also hosted an exhibition of her works in 2018. [17]

Zicafoose describes cloth as "a manuscript, a woven surface encoded with visual symbols". [18] She often creates series of tapestries, carpets, and prints which explore aspects of a theme. Her collections include Ancient Texts, Blue Prints, Grasslands, Mountain for the Buddha, New Dreams, Sun Signs, [19] Fault Lines, and The Blueprint Series. [20]

The artist sees her work as a process of creation as well as a transmission of cultural record to future generations: [12]

One cannot discount what can happen when a culture sits behind wheel and loom remembering, intentioning and giving birth in fabric. One cannot discount the power of cloth.

Shows

Her work has been included in international juried shows such as the 13th International Triennial of Tapestry, May 10 – October 31, 2010, at the Central Museum of Textiles in Lodz, Poland. [21] [20] Her works have also been shown at the American Tapestry Biennials including #7 (2008), juried by Susan Warner Keene; [22] #8 (2010), curated by Rebecca Stevens; [23] and #9 (2013), juried by Lee Talbot. [24]

As part of the United States Art in Embassies Program, her works are included in the permanent and lending collections of at least 16 embassies, particularly those whose countries have strong weaving traditions. These include Baku, Azerbaijan, Ecuador, Indonesia, Kazakhstan, Lithuania, Thailand, Sri Lanka and Yemen. [10] [3] [4]

Zicafoose also produces collagraphic monoprints of works. [25] [14] Mary Zicafoose: Tapestries, Prints, and Carpets was the opening show for the relaunch of Gallery 72 in Omaha in 2013. [26] [27]

Teaching and writing

Mary Zicafoose, Wayne Art Center, 2021 Mary Zicafoose Wayne Art Center 2021 02.jpg
Mary Zicafoose, Wayne Art Center, 2021

Zicafoose speaks and teaches extensively, at venues including the de Young Museum, the Penland School of Craft, and the Arrowmont School of Arts and Crafts, as well as at conferences and workshops. [28] She is described as a "generous teacher" who encourages her students to "trust the process". [9]

She was invited to present on "Weft Face Ikat Applications in Wool & Silk for Contemporary Tapestry" at the 9th International Shibori Symposium at China's National Silk Museum in 2014. [29]

Zicafoose is the author of Ikat: The Essential Handbook to Weaving Resist-Dyed Cloth (2020). In this beautifully illustrated book she provides both technical and cultural knowledge. She gives important and detailed instruction in techniques for warp, weft, and double ikat. She describes the tools that she uses, demonstrates thread binding, and discusses dye processes. Projects are organized clearly and sequentially to build upon each other. This technical approach is complemented by specialist essays that establish the cultural context of ikat fabric as it is made in Guatemala, Indonesia, India, Mexico and Uzbekistan. [2]

Community

Zicafoose has served on the boards of GoodWeave, an international organization combating the exploitation of child workers; [30] the Robert Hillestad Textiles Gallery at the University of Nebraska; and the Union for Contemporary Art in North Omaha, Nebraska, among others. [31] She has also been co-director of the American Tapestry Alliance. [32] [21]

In Nebraska, Mary Zicafoose and her husband Kirby Zicafoose have lived in Omaha and at Pahuk, a sacred ground for the Pawnee people located by the Platte River. [33]

Related Research Articles

Weaving Technology for the production of textiles

Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. The method in which these threads are inter-woven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms.

<i>Shibori</i> Dyeing technique from Japan

Shibori is a Japanese manual tie-dyeing technique, which produces a number of different patterns on fabric.

Ikat is a dyeing technique originating from Indonesia used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.

<i>Kasuri</i>

Kasuri (絣) is the Japanese term for fabric that has been woven with fibers dyed specifically to create patterns and images in the fabric, typically referring to fabrics produced within Japan using this technique. It is a form of ikat dyeing, traditionally resulting in patterns characterized by their blurred or brushed appearance.

Maya textiles (k’apak) are the clothing and other textile arts of the Maya peoples, indigenous peoples of the Yucatán Peninsula in Mexico, Guatemala, Honduras, El Salvador and Belize. Women have traditionally created textiles in Maya society, and textiles were a significant form of ancient Maya art and religious beliefs. They were considered a prestige good that would distinguish the commoners from the elite. According to Brumfiel, some of the earliest weaving found in Mesoamerica can date back to around 1000-800 B.C.E.

The manufacture of textiles is one of the oldest of human technologies. To make textiles, the first requirement is a source of fiber from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving, which turns yarn into cloth. The machine used for weaving is the loom. For decoration, the process of colouring yarn or the finished material is dyeing. For more information of the various steps, see textile manufacturing.

African textiles Textiles originating in and around continental Africa or through the African Diaspora

African textiles are textiles from various locations across the African continent. Across Africa, there are many distinctive styles, techniques, dyeing methods, and decorative and functional purposes. These textiles hold cultural significance and also have significance as historical documents of African design.

Photo blanket

A photo blanket is a large, rectangular piece of fabric displaying images, pictures, or designs, often with bound edges, used as a blanket or decorative object. Historically photo blanket were made of thick cloth depicting people, objects, and symbols intended to tell a story or reveal historical events.

Lamba (garment)

A lamba is the traditional garment worn by men and women that live in Madagascar. The textile, highly emblematic of Malagasy culture, consists of a rectangular length of cloth wrapped around the body.

Polly Barton is an American textile artist.

Balinese textiles

Balinese textiles are reflective of the historical traditions of Bali. Bali has been historically linked to the major courts of Java before the 10th century; and following the defeat of the Majapahit kingdom, many of the Javanese aristocracy fled to Bali and the traditions were continued. Bali therefore may be seen as a repository not only of its own arts but those of Java in the pre-Islamic 15th century. Any attempt to definitively describe Balinese textiles and their use is doomed to be incomplete. The use of textile is a living tradition and so is in constant change. It will also vary from one district to another. For the most part old cloth are not venerated for their age. New is much better. In the tropics cloth rapidly deteriorates and so virtue is generated by replacing them.

Textiles of Sumba

The textiles of Sumba, an island in eastern Indonesia, represent the means by which the present generation passes on its messages to future generations. Sumbanese textiles are deeply personal; they follow a distinct systematic form but also show the individuality of the weavers and the villages where they are produced. Internationally, Sumbanese textiles are collected as examples of textile designs of the highest quality and are found in major museums around the world, as well as in the homes of collectors.

Patola sari

Patola is a double ikat woven sari, usually made from silk, made in Patan, Gujarat, India. The word patola is the plural form; the singular is patolu. They are very expensive, once worn only by those belonging to royal and aristocratic families. These saris are popular among those who can afford the high prices. Velvet patola styles are also made in Surat. Patola-weaving is a closely guarded family tradition. There are three families in Patan that weave these highly prized double ikat saris. It is said that this technique is taught to no one in the family, but only to the sons. It can take six months to one year to make one sari due to the long process of dying each strand separately before weaving them together. Patola was woven in Surat, Ahmedabad and Patan. Highly valued in Indonesia, it became part of the local weaving tradition there.

Cynthia Schira is an American textile artist and former university professor. Her work is represented in the collections of many major public museums.

Yoshiko Iwamoto Wada Japanese artist (born 1944)

Yoshiko Iwamoto Wada is a Japanese-born American textile artist, curator, art historian, scholar, professor, and author. She has received international recognition for her scholarship and expertise in the field of textile art. In 2010, she was named a "Distinguished Craft Educator - Master of Medium" by the James Renwick Alliance of the Smithsonian Institution, who stated: "she is single-handedly responsible for introducing the art of Japanese shibori to this country". In 2016 she received the George Hewitt Myers Award for Lifetime Achievement.

Odisha Ikat

Odisha Ikat is a kind of ikat, a resist dyeing technique, originating from Indian state of Odisha, adapted from ikat in Indonesia. Also known as "Bandha of Odisha", it is a geographically tagged product of Odisha since 2007. It is made through a process of tie-dying the warp and weft threads to create the design on the loom prior to weaving. It is unlike any other ikat woven in the rest of the country because of its design process, which has been called "poetry on the loom". This design is in vogue only at the western and eastern regions of Odisha; similar designs are produced by community groups called the Bhulia, Kostha Asani, and Patara. The fabric gives a striking curvilinear appearance. Saris made out of this fabric feature bands of brocade in the borders and also at the ends, called anchal or pallu. Its forms are purposefully feathered, giving the edges a "hazy and fragile" appearance. Ikat's equivalent usage in Malay-Indonesian language is ikat or mengikat, which means "to tie or to bind".

Bruneian art is art from the country of Brunei. Brunei's art includes paintings, jewelry, and clothing.

Ethel Stein (1917–2018) was an American textile artist who lived in Croton-on-Hudson, N.Y. While her work was primarily in weaving, her best known piece is the puppet Lamb Chop.

<i>Tanmono</i> Traditional Japanese cloth

A tanmono is a traditional Japanese narrow-loomed cloth. It is used to make traditional Japanese clothes, textile room dividers, sails, and other traditional cloth items.

<i>Meisen</i> (textile) Type of silk fabric

Meisen is a type of silk fabric traditionally produced in Japan; it is durable, hard-faced, and somewhat stiff, with a slight sheen, and slubbiness is deliberately emphasized. Meisen was first produced in the 1880s, and became widely popular during the 1920s and 30s, when it was mass-produced and ready-to-wear kimono began to be sold in Japan. Meisen is commonly dyed using kasuri techniques, and features what were then overtly modern, non-traditional designs and colours. Meisen remained popular through to the 1950s.

References

  1. 1 2 3 Arbey, Suzanne Smith (2004). "Mary Brelowski Zicafoose, '73, Weaving a life" (PDF). Saint Mary's College Courier. 79 (1): 16. Retrieved December 7, 2021.
  2. 1 2 Weiss, Wendy. "Book Review: Ikat: The Essential Handbook to Weaving Resist-Dyed Cloth". Textile Society of America. Retrieved December 5, 2021.
  3. 1 2 "Local artist Mary Zicafoose to speak March 7". University of Nebraska Medical Center. March 1, 2019. Retrieved December 7, 2021.
  4. 1 2 "Mary Zicafoose Artist/Tapestry Weaver" (PDF). Mary Zicafoose. Retrieved December 6, 2021.
  5. ↑ "Textiles Are My Livelihood: Mary Zicafoose's Story". What's Your Livelihood? Embrace the Arts and Humanities in Nebraska. Retrieved December 7, 2021.
  6. 1 2 3 4 5 6 7 8 "Mary Zicafoose: Weaving in Code". Textile Study Group of New York. Retrieved December 6, 2021.
  7. 1 2 3 Reiner, Kim (October 4, 2017). "Mary Zicafoose". Omaha Magazine. Retrieved December 5, 2021.
  8. ↑ "Mary Zicafoose". Sanborn Mills Farm. November 15, 2021. Retrieved December 5, 2021.
  9. 1 2 3 4 5 6 Arney, Suzanne Smith (2004). "Mary Zicafoose: The power of transformation" (PDF). Shuttle Spindle & Dyepot. Handweavers Guild of America, Inc. 35 (137): 31–35. Retrieved December 6, 2021.
  10. 1 2 3 "Mary Zicafoose". U.S. Department of State. Retrieved December 5, 2021.
  11. 1 2 3 Kernick, Cassie (December 2, 2013). "'Mountains and Ghosts' exhibit shows Mary Zicafoose's tapestries on UNL East Campus". The Daily Nebraskan. Retrieved December 5, 2021.
  12. 1 2 Zicafoose, Mary. "Mary Zicafoose: Midway" (PDF). FiberArtNow.net (Spring 2017): 36–39.
  13. 1 2 Suit, Verna (1996). "The Tapestry Rugs of Mary Zicafoose". Handwoven Magazine (Nov/Dec). Retrieved December 7, 2021.
  14. 1 2 Arney, Suzanne Smith (2018). "Mary Zicafoose: Weavings & Prints" (PDF). Fiber Arts (April/May): 48–51. Retrieved December 6, 2021.
  15. ↑ "Artist & Weaver : Spring Concentration with Mary Zicafoose". The Penland School of Craft. November 6, 2015. Retrieved December 6, 2021.
  16. ↑ "encoding identity: Mary Zicafoose's ikat fingerprints". Selfies in Tapestry: slo art in the age of quick. April 24, 2015. Retrieved December 9, 2021.
  17. ↑ "Nebraska artist featured at Fred & Pamela Buffett Cancer Center". University of Nebraska Medical Center. October 12, 2018. Retrieved December 9, 2021.
  18. ↑ Arney, Suzanne Smith (2009). "Speaking with the Text of Textile". American Craft Magazine. American Craft Council. December/January. Retrieved December 5, 2021.
  19. ↑ Mezoff, Rebecca (March 10, 2015). "The ikat tapestry of Mary Zicafoose and her solo show, Color Fields". Rebecca Mezoff. Retrieved December 7, 2021.
  20. 1 2 "Fault Lines: Mary Zicafoose". University of Mississippi Museum. Retrieved December 7, 2021.
  21. 1 2 "Kudos" (PDF). Tapestry Topics: A Quarterly Review of Tapestry Art. 36 (2): 18. 2010. Retrieved December 5, 2021.
  22. ↑ "American Tapestry Biennial 7". American Tapestry Alliance. Retrieved December 5, 2021.
  23. ↑ Holtmeyer, Dan (September 27, 2010). "Worldly tapestries on display in Lincoln until Nov. 15". The Daily Nebraskan. Retrieved December 5, 2021.
  24. ↑ Mezoff, Rebecca (January 24, 2013). "The shape of tapestry and the ATB9". Rebecca Mezoff, Tapestry Artist. Retrieved December 5, 2021.
  25. ↑ "Mary Zicafoose". American Tapestry Alliance. Retrieved December 5, 2021.
  26. ↑ Day, Mary (February 11, 2013). "Art Review: Dream Weaver". Roberta & Bob Rogers Gallery. Retrieved December 5, 2021.
  27. ↑ Arney, Suzanne Smith (February 25, 2013). "Gallery 72...Anew!". Omaha Magazine. Retrieved December 5, 2021.
  28. ↑ "Teachers 2017 – Contemporary Handweavers of Texas". Contemporary Handweavers of Texas. Retrieved December 7, 2021.
  29. ↑ Resist Dye on the Silk Road 丝路之缬 Proceedings for the 9th International Shibori Symposium at the China National Silk Museum October 31st - November 4, 2014 (PDF). Hangzhou, China: China National Silk Museum. November 4, 2014. p. 147. Retrieved December 6, 2021.
  30. ↑ "InnerAsia Custom Rugs". GoodWeave. Retrieved December 5, 2021.
  31. ↑ "Color Fields: A Conversation about Ikat, Tapestry and Contemporary Art » Textile Arts Council, Fine Arts Museum of San Francisco". Textile Arts Council. Retrieved December 5, 2021.
  32. ↑ "Mary Zicafoose". American Tapestry Alliance. Retrieved December 5, 2021.
  33. ↑ "Tapestry artist Mary Zicafoose to present Navajo weaving demonstration at Morrill Hall Nov. 20". news.unl.edu. November 9, 2010. Retrieved December 5, 2021.
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