They would ask, “How do you do it? How don’t you make mistakes? How does it even work?” And I’d reply, “It’s simple! Anyone can weave”. Then they’d exclaim, “No, how could anyone? It looks so incredibly complicated!”. Their reactions were my biggest inspiration and made weaving even more of a passion for me. [M.K.] Is there a story or memory related to weaving that holds special meaning for you? [I.I.] I remember, as a child, watching my mother weave with my aunt. When my aunt came to help, evenings would often turn into lively gatherings of young people — both boys and girls. These spontaneous meetings also attracted older women, who brought their spinning wheels or knitting needles. Weaving became a pre- text for conversations and spending time together. Today, those gatherings remind me of the open days I now organize. My loom isn’t just a museum piece — it continues to draw people, spark interest, and encourage shared activities. What makes me happiest is seeing that many people who met at these events have formed lasting connec- tions. They’re now friends, acquaintances, or even close companions who meet up outside of my workshops. That truly brings me great joy. [M.K.] What is your favorite weaving technique and why? [I.I.] I most enjoy multi-shaft weaving without treadle lifts. It fascinates me how the pattern gradually emerg- es, as if the fabric is coming to life right before my eyes. [M.K.] Where do you find inspiration for your weaving projects? [I.I.] My inspiration mainly comes from the past. As I get older, I feel an increasing pull toward traditional patterns. I absolutely adore “perebory”, especially old, worn, and torn ones. Even if there’s a hole, I love fig- uring out what the missing element, like a flower, might have looked like. I haven’t yet “grown into” larger looms with 16 or more shafts, and I’m not sure I ever will. For me, eight shafts are more than enough. Even with just four, you can create an infinite number of patterns and combinations. Sometimes I feel like more isn’t necessarily better. [M.K.] Do you have personal preferences for the colors you use in your projects? [I.I.] I don’t have specific color preferences; I usually work with whatever materials I have on hand. If I were creating more pieces for sale, I’d probably pay more attention to color choices and combinations. However, at the moment, I focus more on the technical aspects of my work. Perhaps that’s why the colors I choose sometimes aren’t perfectly matched.
For larger projects, like “perebory”, I try to ensure I have enough yarn in a single color. If I run short, I impro- vise to find alternatives, but it’s not always easy for me.
[M.K.] What kind of yarn do you use most often? [I.I.] I mostly weave using wool for the weft, while the warp is typically made of cotton.
[M.K.] What about linen? Some people love it, while others dislike it. What’s your opinion? [I.I.] Linen is a material that requires skill to weave — that’s my perspective. It’s inherently beautiful. It shines and shimmers in the sunlight, even after dyeing. That’s something you can’t find in wool. I especially love gray, natural linen.
25
Tkane Dziedzictwo Wywiady
Woven Heritage Interviews
Made with FlippingBook - professional solution for displaying marketing and sales documents online