[M.K.] What does your process of creating a pattern look like? Do you calculate everything meticu- lously, or do you allow yourself some freedom? [K.CH.] I deeply respect mathematics, but I don’t approach patterns with excessive rigidity. Instead, I prefer experimenting, free interpretation, and flexibility — of course, within the limits set by the number of warp threads. I always calculate the basic elements to ensure everything makes sense, but if something “slips” along the way, I let my creativity take over. I modify the pattern to ensure it still works while also allowing myself to enjoy the process. [M.K.] Do you have color preferences? [K.CH.] I feel that my approach to colors changes over time—shaped both by trends and personal prefer- ences. For example, I used to dislike purples, but now I’m in a phase of loving them. Recently, I’ve been experimenting with pastel combinations—using pastel crayons to create various mixes on paper. It turns out that the combination of orange, green, and yellow can be amazing. A spring-like green with a touch of orange reminiscent of nasturtium is truly inspiring. [M.K.] What types of yarn do you use most often? [K.CH.] For warp, I usually choose cotton — it’s readily available. However, I dream of one day using hand- spun linen like in the old days. That would be a challenge: learning to process flax and spin it.
For weft, I most often use wool—in various thicknesses, from thinner, factory-made yarn to thicker, more natural fibers. Recently, I discovered alpaca and am absolutely enchanted by it. I’d love to use it for weaving someday.
[M.K.] What is your greatest challenge in weaving? [K.CH.] One of my biggest challenges is patience and consistency. Sitting at the loom day after day, contin- uing the work even when the initial excitement wanes. Bringing a vision in your head to life requires deter- mination and the ability to overcome your own nature. You need to structure your day to find time for weaving and see the project through to the end. The satisfaction when you finally achieve that is priceless. [M.K.] Do you work on weaving alone? [K.CH.] Yes, I weave alone. This means I don’t have anyone to help — no one to hold the board or assist. On the one hand, this is good because it avoids additional comments or conversations that could distract me. But on the other hand, all the work falls on me, and I have to monitor every detail. That’s why focus is so important. In weaving, much like driving a car, you must clear your mind of distractions to avoid mistakes. [M.K.] What do you do when you make a mistake? [K.CH.] It depends on the type of mistake. If it’s a minor error, like a thread being thrown too many times, I might ignore it. But if the mistake is more noticeable or affects the entire pattern, I’ll undo my work and fix it. There have been times when I’ve undone as many as fifteen rows to correct a mistake. [M.K.] What advice would you give to beginner weavers? [K.CH.] Don’t be afraid! Weaving is incredibly fun. It’s an amazing adventure. At the loom, you can let your imagination run wild. Weaving truly has no limits — it’s a form of pure creativity where you can invent wonders.
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Tkane Dziedzictwo Wywiady
Woven Heritage Interviews
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