Katherine Dickerson/West Coast Tree Stump
West Coast Tree Stump;Technique: Weaving. twining, knotting and rya, Material: Jute, hop sacking, hemp and natural hand spun brown wool, Size: Height 8 ft. diameter 6 ft
Born in Duluth, Minnesota, U.S.A. 1947 Resides in
Sooke, British Columbia Studied fine Arts at Denison University.
Granville, Ohio; the University of Wisconsin and the University of
Minnesota. U.S.A. Studied weaving at Haystack Mountain School of Crafts,
Deer Isle, Maine; the Craft Students’ League, New York City; the School
of the Art Institute, Chicago, Illinois, U.S.A. Member at the Fine Arts
Faculty, Pacific North West Coast Institute of the Arts. Victoria, British
Columbia, Participated in group exhibitions in Chicago. New York City. Los
Angeles, U S, and Vancouver and Toronto, One-man exhibitions in Duluth
and Victoria, Awards include Evanston, Illinois, Art Show -first prize,
weaving (1970); Canadian Guild of Crafts, Canadian National Exhibition
(1972) - best weaving; Canadian Guild of Handweavers Inkle loom weaving
West Coast Tree Stump
The land; humid climate...lush vegetation...rough,
rugged coast - a new land
The people; Indians, settlers, loggers. Continuous
stream of new immigrants. The fibres; raw wool from sheep farms down the
road...jute and hemp —fibres from stalks of plan for the trunk of a
plant...at the foot unravelled remnants of hop sacks for the dead forest
The technique; twining from blankets and baskets of
Salish Indians...four-foot Salish spindle for spinning...weaving from
early settlers rya and knotting from the new immigrants...and sculptural
forms from the present.
The west coast, developed by man and timber. Giant
frees cut slowly by hand with crosscut saw...notches hewn into the trunk
holding springboards supporting men cutting high above the gnarled base.
Mother Earth; home...provider...roots. The
beginnings of the majestic cedar still stand...remnants of the past
building the future.
Exploration of tension and stresses of materials in
the weaving, a new reality of fibres through texture and form. What does
old bark of the cedar look and feel like? What patterns are formed from
fire charring parts of the stump?
Look...feel...think...become...then weave a
representation of the west coast of British Columbia.
the above information is taken from the Textiles into 3-D broadsheet Poster used to promote the original exhibition
Katharine Dickerson was
born in Duluth Minnesota in 1947. She became a Canadian citizen in
1977. Her Norwegian heritage, on her mother's side, has become
increasingly important in forming her aesthetic values. The time she
has shared with the Salish, Maori and Aborigines, learning their textile
practices, has firmly established the necessity of passing down Textile
traditions in an oral manner. It is the stories that really count
and give context to the technical processes.
Katharine Dickerson has
over 40 years of weaving experience. She also has years of
experience working in other Textile processes such as spinning, knitting,
garment design and construction, quilting, natural dyeing of fibres as
well as various methods of cloth dyeing. She retired from the
Alberta College of Art + Design in 2007 after 30 years of teaching.
In 2009 she was named "Lecturer Emeritus" by the Board of
Governors of the Alberta College of Art + Design. Katharine's
education was in both fine arts and weaving. She believes that when
both technical skills and creative inspiration are balance the resulting
Textile establishes a unique place in building the future Textile
Valhalla Textile Center is
the culmination of over 30 years of planning and learning. She views
the building and its contents as a physical laboratory for teaching craft
aesthetics through the personal experience and interaction of the
participants. Much of craft aesthetics is based on experience
through all the senses and within the context of direct interaction
through use. She believes that experiencing the environment of Valhalla
Textile Center brings about a far more meaningful learning experience than
just gaining information through books or lectures.
read the story about the Valhalla Textile Centre in this issue.
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|On Helen Duffy
to Helen and the Textiles into 3-D show, it would be an understatement to
say that it was a major turning point in my career as a Textile Artist.
Up to that time I had been weaving to support myself and family.
Most of my work was more commercial in nature and smaller in scale.
But I had ideas that I wanted to realise. Helen came to visit and
encouraged me to talk about these ideas and was very supportive. On
top of that the honorarium that was given for the show was generous enough
to be able to buy the materials I needed to do a piece of that scale.
Even better, they gave a payment prior to the show which really directly
supported the purchase of materials and the doing of a larger more