Chalmers Fellowship 2024

In 2022, I conceived the idea of undertaking a slow-travel journey across Europe to research textiles. My goal was to explore narrative textile creation, both traditional and contemporary weaving techniques, and the work of fibre artists. Additionally, I aimed to examine how climate action is reflected in community art and textiles today.

I applied to the Chalmers Family Fellowship Fund in June 2022 but found out later that year that my application was unsuccessful. However, I did not let that discourage me, and I reapplied the following year. To my absolute surprise and delight, I was awarded the fellowship funds in January 2024 on my second attempt.

Anyone who knows me is aware of my passion for trip planning. I enjoy researching opportunities to explore, learn about, and connect with textiles and artists, as well as discovering often-overlooked connections between these places and people. I created a basic itinerary of potential locations of interest and booked a one-way transatlantic flight, leaving ample room for spontaneous decisions both before and after my planned residencies.

During my research, I prioritized travelling in the most environmentally friendly ways possible. I started in the UK, landing in London, and then made my way to the Nordics using the extensive rail network. The most environmentally efficient flight for my return trip home across the Atlantic, which produced fewer emissions, included a stopover in Iceland. I took advantage of this opportunity to add gallery, museum, and curator visits there, in addition to my initial plans.

Arriving in London for the first time, I quickly hopped on a train to Cardiff, Wales, to connect with my friend and textile artist, Pam Cottrell. We discovered local flax-growers and linen producers, toured Chapter Community arts Centre, and a collective reclaimed-office made-studio space in Cardiff.

Exploring rural Wales, Melin Tregwynt, and Cardiff.

Pam and I travelled through rural Wales to Melin Tregwynt, a traditional weaving mill where we observed the ancient process of small-scale industrial weaving using Welsh wool and traditional patterns. Following this, we explored Cardiff, where I was introduced to community arts centers and grassroots art initiatives, before continuing to Bristol and the Yorkshire Dales, on my way to Scotland.

Weaving in progress at Melin Tregwynt, a whitewashed 1800's weaving mill.

Views of Bristol, community reflection room at Arnolfini Arts Centre, a Banksy. 

I had planned my journey around the timing of my residency at Cove Park on the Rosneath Peninsula in Scotland, which is a member of NAARCA (the Nordic Alliance of Artist Residencies for Climate Action). During my time there, I engaged in reading, reflection, writing, and gazing over the Loch at the misty mountains. I made many new connections with individuals working on climate action and art, and I continue to receive invitations to participate in additional climate-action projects driven by artists. I look forward to maintaining these relationships and learning from this leader in climate action and sustainable artist residencies.

Views from Cove Park, Rosneath Peninsula, Scotland.

I travelled north from Argyle to Oban, where a community-led eco-dye garden and dye studio awaited me, thanks to my friend and colleague Deborah Gray and Artspace Oban (more to come on this experience!) Over the next week, I collected local Scottish plants for dyeing wool that I cannot access at home in Northwestern Ontario. I referred to "The Colour Cauldron" by Su Grierson to identify new plants to explore. Deborah's dye kitchen at Artspace Oban is a dream workspace: cozy, well-organized, and fully stocked with everything needed to extract colours from plants!

Views of Oban Bay, my local Scottish dye studies, and the community dye garden at the Rockfield Centre. 

I took a boat from Oban to the Isle of Mull, where I met Monica, the head weaver and natural dyer at Ardalanish Farm and the Isle of Mull Weavers. During my visit, we foraged for dye plants and I had the chance to see the impressive weaving shed, which produces a wide range of handwoven goods and fabrics using sheep breeds from Mull and Scotland.

Ardalanish Weavers, Isle of Mull. Utilizing locally-bred wool, limited homegrown plant dyes and Victorian Dobcross power looms. 

While in the region, I also made brief stops in Edinburgh and Glasgow to connect with more fiber friends, viewing historical and contemporary textiles in exhibition, and my lifelong dream of viewing Glaswegian Art Nouveau art and architecture.

Clocking 30,000 steps in one day while exploring textiles in museums and the streets of Edinburgh by foot. 

After my time in Wales and Scotland, I travelled through Belgium en route to Denmark, where I met textile artist and researcher Sarah Erman, whom I had previously met at the Icelandic Textile Center earlier that year.

Sarah Erman and I in front of the Icelandic Textile Center where we met as artists-in-residence. A few months later, Sarah showed me around Brussels during a stopover via Train. 

During my time in Denmark, I connected with colleagues Alberte Holme Bojesen and Christina Mariani while exploring innovative, environmentally friendly bio-design and textiles during the 3 Days of Design festival in Copenhagen.  I also enjoyed participating in an outdoor, eco-art festival led by Alberte's textile students.

Using extensive public bike lanes for transit and exploring regenerative bio-textiles around Copenhagen. 

Experimental, Eco-textiles exhibition and forest fashion show put on by the students at Textil Skolen, Holte, Denmark.

Crossing the Øresund Bridge to Sweden, I utilized the national rail system following word-of-mouth recommendations to visit numerous exhibitions, textile centers, schools, and museums showcasing textile artistry and industry in cities such as Borås, Göteborg, Malmö, Älmhult, Norrköping, Insjön, Rättvik, Sundborn, Falun, and Stockholm.

Images of the artist Elsa Pärs-Berglund and her natural dye studies, the exhibition title translates: "Let A Hundred Flowers Bloom" viewed at Röhsska, and scenes from her politically-charged tapestries. 

Some of the highlights included engaging conversations with locals in saunas, discovering the work of Elsa Pärs-Berglund, experiencing colour immersion at the Ikea Museum, exploring the charming "Swedish Venice," Norrköping, visiting Sätergläntan School of Craft in Dalarna, and appreciating the beautiful textiles and weaving of Karin Larsson in their family's home: Lilla Hyttnäs.  

The Textile Fashion Center in Borås, Sweden, focused on eco-friendly and climate action textile history and research. 

Miriam Parkman's Rya Rugs in exhibition "Festivitas" at form/design Center in Malmö, on my way to the Ikea Museum in Älmhult to view "Magical Patterns". 

Golden hour in the old industrial city of Norrköping. 

Exploring the halls, library and gallery at Sätergläntan School of Craft in the Dalarna region. 

Enjoying Swedish summer at Lilla Hyttnäs, a house located in the village of Sundborn outside Falun in Dalarna, where the artists Carl and Karin Larsson lived and created their artistic family home. 

In Stockholm, I had the pleasure of engaging in discussions with members of Studio Supersju and experienced the generosity of weaver Miriam Parkman in her home and studio. During my time in Stockholm I encountered weaving in public places including City Hall, cafes, and sidewalks, in addition to historical and contemporary exhibitions!

Studio Supersju public commission at City Hall, Miriam Parkman at her loom, Friends of Handcraft Centre of education, Almgren Silk Weaving Museum, Student exhibition at Restaurant Blå Porten, and Ariana Funk's handwoven Parasols at Sergel Torg square. 

Next, I travelled from Stockholm to Oslo, Norway, where I had the opportunity to view the incredible retrospective of Sámi artist Britta Marakatt-Labba and explore the Climate Change exhibition at Klima Huset. I also discovered more tapestries by Frida Hansen, along with works from other weavers I had not encountered before, at the National Museum and Library.

The National Museum and Library in Oslo, Britta Marakatt-Labba "Moving the Needle," exhibition poster, and the Climate House. 

From Oslo, I enjoyed the longest and most beautiful train ride of my journey to Bergen. In Bergen, I explored the Textile Industry Museum, Gallery Salhus, and the Salhus Artist Residency located just outside the city. While in Bergen, I found additional Frida Hansen weavings and attended an international exhibition on Indigenous activism, art, and textiles.

Views from the train through Norway. 

Arriving in Salhus to explore the Textile Industry Museum, Gallery Salhus and the Salhus artist residency. 

Not just a charming port city, Bergen had many exhibitions featuring historic and contemporary use of narrative textiles to explore. 

Next, I travelled by boat from Bergen to Stavanger to view the largest exhibition of Frida Hansen's tapestries, showcased in her hometown at the Stavanger Art Museum. The longer ferry journey allowed me time to catch up on journalling, and appreciate the West Atlantic Norwegian landscape. 

The western coastline of Norway, a close-up of Frida Hansen's 1905 "Sempre Vadentes," Stavanger Art Museum. 

After visiting Stavanger, I began my journey home with a stopover in Reykjavik, where I experienced the midnight sun illuminating the lupins in Iceland for the first time.

In addition to the research mentioned earlier, I explored opportunities to visit textile industrial mills, museums, and reclaimed weaving sheds whenever possible. This experience deepened my understanding of the historical European textile industry and the Industrial Revolution, including its decline and environmental repercussions. I also examined how artists and industry stakeholders respond to these challenges and work towards climate-positive solutions today.

To conclude my research, I attended textile exhibitions in Minneapolis, Minnesota, where I utilized an electric car instead of a gasoline vehicle due to the lack of train service.

Works in an exhibition by Christine Novotny, American Swedish Institute, Minneapolis. 

Works in the exhibition: "Karin Larsson: Let the Hand Be Seen," American Swedish Institute, Minneapolis.

Overall, I attended more than 86 exhibitions related to eco-art, community art and climate action and/or narrative textiles at schools, community centers, galleries, museums, weaving mills, textile centers, and libraries. This experience enhanced my knowledge and understanding of sustainable art practices and residencies while allowing me to network with artists involved in textiles and climate action.

TL;DR:

I embarked on a customized research journey, building relationships in various countries while utilizing climate-friendly travel methods unavailable in Thunder Bay, Ontario.

I visited over 86 exhibitions related to climate action and narrative textiles in community centers, galleries, museums, weaving mills, and libraries. This experience enhanced my understanding of sustainable art and allowed me to network with artists committed to climate action.

I intentionally slowed down to read about narrative storytelling in textiles, journaling daily and creating a research archive of text and images. I discovered many new-to-me textile artists and weavers working conceptually.

Along my journey, I connected with textile artists I had previously met during residencies and through social media, strengthening relationships in Wales, Scotland, Belgium, Denmark, Sweden, and Norway.

This entire experience surpasses what I thought possible with the support of the OAC and the Chalmers Family Fellowship Fund, creating a journey of a lifetime for which I will always be grateful.

I gratefully acknowledge the support of the Chalmers Family Fund administered by the Ontario Arts Council.