[M.K.] Did your mother weave only “perebory” patterns, or did she create other things as well? [K.CH.] She wove various things. I remember a multi-harness loom. From my conversations with her, it seems that back in her time — she is now 94 years old — people wove whatever was needed in daily life. That in- cluded linen fabric, sackcloth, towels, and clothing. She also wove hemp cloth and many other things. Everything had a practical use in the household. [M.K.] Who or what is your biggest inspiration in weaving? [K.CH.] It’s hard for me to point to one specific person because my sources of inspiration change over time. Most often, I draw inspiration from my immediate surroundings and the work of other creators. Women who weave today amaze me with their ideas. Thanks to social media, I can discover what weavers around the world are doing, and there’s always something that catches my attention. When it comes to inspiration, it’s not just about people — sometimes it’s small things from everyday life. Recently, for example, I was inspired by a postcard from a mushroom exhibition in Białowieża. It was old, linked to a long-past contest, but the overlapping mushroom patterns created completely new shapes and colors. Such an unexpected source of inspiration. Inspiration can come from various places, sometimes entirely random. For instance, I might notice something interesting on a TV show and take a picture of the screen. Screenshots on my phone, taken while browsing the internet, are a daily occurrence for me. I’m also fascinated by old, simple patterns that I find on bedspreads. [M.K.] Is there a story or memory related to weaving that holds special meaning for you? [K.CH.] One of my most memorable experiences in weaving was an adventure with a “collapsing warp”. I even learned that this phenomenon has a name — ”collapsing warp” — which shows I wasn’t the only one to face this issue. However, in my case, the scale was exceptional — a 20-meter warp, not just a few meters as is more common today. This experience taught me that every component of a loom has its function, and nothing should be overlooked. The saying “learn from others’ mistakes” holds great truth, but as you can see, some of us — myself includ- ed—prefer to learn from our own. I remember stretching that 20-meter warp across half of the yard, trying to tension and save it somehow. It was a lesson in patience and humility. That’s when I understood what the older weavers meant when they said, “Sometimes you just have to write it off.” Sometimes, you simply have to accept that a poorly set warp is a lost cause because tangled threads have a mind of their own and won’t be tamed. While part of me dreads sitting at the loom, another part feels drawn to see what might come of it. [M.K.] Which weaving technique do you prefer most and why? [K.CH.] At the moment, “perebory” are my favorite, though I still dream of mastering a multi-harness loom. I remember my mother telling me that if I could understand how to work with harnesses — starting with four, then six, and eventually eight — I would be able to create my own pattern combinations. She explained that I wouldn’t need to copy numbers from ready-made patterns; instead, I could design my own. That idea is very appealing to me. However, before moving on to a multi-harness loom, I need to sort out what I currently have on my two looms.
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Tkane Dziedzictwo Wywiady
Woven Heritage Interviews
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