This is the second of five blog posts about the Denver Art Museum videos of Barb Brophy and I talking about our teacher, James Koehler. I am talking in this video about the interlock that James used in most of his work. I have posthumously named it the "James Koehler interlock", but it is really just a specific variation of a weft interlock. If you're interested in learning this join, I have a video on my YouTube channel about it HERE.
The search for a very flat join can be traced back to a desire for a very flat textile. A lot of tapestry weaving is not very flat and in fact can be quite thick with yarn tails hanging on the back. Everyone has their favorite style, but I love the way James taught me to weave. His work was exceptionally flat, thin, and flexible. There were no tails hanging anywhere and most of his pieces were virtually reversible. This James Koehler weft interlock join contributes to that sort of textile because it is very flat when done correctly.
This join can be seen throughout James' work. The piece below is Ceremonial Masks which is in the State Library Archive in Santa Fe, New Mexico. The date on the plaque is 1998.
|James Koehler, Ceremonial Masks|
|James Koehler, Ceremonial Masks, detail|
|James Koehler, Chief Blanket with Blocks, detail|
|James Koehler, Harmonic Oscillation XL, detail|
|James Koehler, Chief Blanket with Blocks, installation Denver Art Museum Creative Crossroads: The Art of Tapestry show|