Artist:

Connie Lippert – Seneca, SC


Bio:

Connie’s work has been exhibited in 30 states and been accepted into over 150 juried exhibitions. She has received 4 artist grants from the South Carolina Arts Commission. Her work is represented in museum, corporate, academic and private collections and has been published in The Art of Tapestry Weaving by Rebecca Mezoff, The Art is the Cloth by Micala Sidore, Fiberarts Design Book 7, Line in Tapestry by Kathe Todd-Hooker, Fiberarts magazine, Handwoven magazine and in Shuttle, Spindle, and Dyepot (the magazine of the Handweavers Guild of America). Connie’s journey with weaving is documented in a book by author Carole Green in Connie Lippert: A Wedge Weaver’s Storied Cloth.

She has taught wedge weave workshops and given seminars in California, New York, Michigan, Colorado, New Mexico, Georgia, Florida, New Jersey, South Carolina, North Carolina, Massachusetts and Wisconsin.
Connie is represented by Blue Spiral 1 in Asheville, North Carolina.


Artist Statement:

My tapestries are woven in wedge weave using yarns hand-dyed with natural materials.
Wedge weave is a tapestry weave originated by the Navajo around 1870. In contrast to most weaving which is woven horizontally on the loom, wedge weave is woven on the diagonal which gives it its characteristic scalloped edge. This trait, which I find intriguing, is thought to be one of the reasons the Navajo abandoned it in the 1800’s though it has resurfaced in recent years.
The colors in my palette are created with natural dyes – mainly indigo, madder, goldenrod, cochineal, and black walnut. Yarns are hand-dyed using indigo leaves from my garden, goldenrod gathered in the fall, black walnut hulls from a friend’s tree, as well as other natural dyes.

My work celebrates nature and the spirit that reveres the natural world. My message is one of environmental respect and protection.


Narrative:

Cascade – a small waterfall, typically one of several that fall in stages down a steep rocky slope.
These shaped pieces result from taking advantage of the inherent qualities of wedge weave to distort. Wedge weave differs from traditional weaving in that the weft is woven on the diagonal rather than the horizontal. This diagonal pressure on the warp, distorts the weaving forcing the selvages either in or out, depending on the direction of the diagonal, resulting in a scalloped edge. In the work pictured, I experimented with wedges of different heights. When weaving the wedge in one direction they are approximately 3 inches tall. When weaving diagonal in the opposite direction, the wedges are approximately 1 inch tall. Not only does this force the edges to scallop, it forces the weaving to skew off its vertical orientation. If the sequence and the wedge heights are reversed, the weaving skews from the vertical in the opposite direction.


Techniques Used: Wedge weave

Materials Sourced From Nature: Linen, wool, natural dyes (indigo, goldenrod, cochineal)

Other Materials Used: Velcro and wood for hanging

Measurements: 23" x 42" x .25"

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