Random Weave Works

I first learned how to random weave in 2011, with guidance from tutor Lesley Hall. She has a wealth of knowledge and experience random weaving and creates beautiful randomly woven baskets using the stunning branches of eucalyptus caesia ‘Silver Princess’. The Basketmakers of Victoria organised the workshop which was held in the stable at Wattle Park in Melbourne.

For a few years I made randomly woven vessels that were then useful as sample baskets for teaching students in the workshop setting.  More recently, I have been exploring random weaving in a more sculptural way in artworks that have been exhibited in a small number of shows since 2017.

CSA 20yrs 3Pictured above: Works made and exhibited for the show entitled ‘TWENTY – Celebrating 20 years of Contemporary’ at the Yarra Sculpture Gallery in September 2017.

LHS: Pierced Seed 3, Goldring, 60cm wide x 60cm deep x 60cm high, wisteria, hardenbergia and jasmine, 2017.

RHS: Pierced Seed 2, Goldring, 45cm wide x 20cm deep x 45cm high, English iris, red-hot poker, cane, wisteria and flax, 2017

CSA 20yrs 2‘TWENTY-Celebrating 20 years of Contemporary Sculpture’, Yarra Sculpture Gallery, Melbourne, September 2017.

CSA 20yrs 1‘TWENTY-Celebrating 20 years of Contemporary Sculpture’, Yarra Sculpture Gallery, Melbourne, September 2017.

Fibre Fusion 1Fibre Fusion: Functional & sculptural works by Western Fibre Artists, BMAC Gallery in Bacchus Marsh, Nov 2018.

Fibre Fusion DETAILFibre Fusion: Functional & sculptural works by Western Fibre Artists, BMAC Gallery in Bacchus Marsh, Nov 2018.

For a show of 25 Basketmakers called Winnow and Distill at Tacit Gallery in Collingwood in September 2021, I made 3 works that explore the intersection between sculpture and basketry. They have been created using the basketry technique of random weaving or “interlacing” and sculptural construction techniques.

In the Art world the terms “void” or “negative space” might be used for such work, and it is tempting to view this language as the legacy of an elite masculine western sculptural tradition. The more feminine language developed in the Craft tradition of basketry, may depict these works as containers or vessels. The substantially longer history of ancient craft practices of basketry, spans across many cultures and are born of grass roots community activity. It could be said that the more accessible and inclusive origins of basketry account for language that more clearly connects the object to the other.

With these works three versions of inner spaciousness are evident. A protected sanctuary in Precious Cargo. Scar tissue of Pierce Seed 4. And viewers are guided into Spiralling In.

Precious Cargo, 2020, H45cm x W45cm x D47cm, Willow, wisteria, hardenbergia, flotsam and jetsam, copper wire, paper & rusting agent.
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Precious Cargo detail, 2020, H45cmxW45cmxD47cm, willow, wisteria, hardenbergia, flotsam&jetsam, copper wire, paper & rusting agent.
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Pierced Seed 4, 2020, H45cm x W55cm x D50cm, Willow, wisteria and hardenbergia.
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Pierced Seed 4 DETAIL, 2020, H45cm x W55cm x D50cm, Willow, wisteria and hardenbergia.
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Spiralling in, 2020, H39cm x W48cm x D42cm, Willow, wisteria and hardenbergia
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Spiralling in DETAIL, 2020, H39cm x W48cm x D42cm, Willow, wisteria and hardenbergia