Layers of Meaning exhibits textiles by eight contemporary artists from across the United States. Each of these weavers uses pick-up double or triple weave to interweave two or more layers of warp (the lengthwise thread on a loom) to create intricate, reversible patterns or pictorial textiles. A Short History Pick-up double weave describes a weave structure that originated in both the old world and the new, in diverse cultural traditions. Pick-up double cloth was woven in coastal areas of Peru and the techniques were handed down for millennia in Andean cultures, where the best pieces were burnt as offerings to the sun god. In Asia, double-woven cloth was one of a number of weave structures used to create silk fabric, which was traded to secure alliances, military protection and loyalty. Early weavers embraced the technique during the Middle Ages when the Vikings brought examples back to Scandinavia. From that time on, Scandinavian weavers, particularly in Norway, used pick-up double weave to create pictorial tapestries, coffin covers, coverlets and other goods useful in a cold climate. In early example, which depict events such as bridal processions, plants and animals carry rich symbolic imagery. These meanings dissolved over time into coverlet patterns of conventionalized folk art forms. Current Practice Some artists in this exhibit use traditional methods as a jumping-off point. Eileen O'Brien trained to weave double cloth while living in Sweden. Once back in the U.S., she began to create textiles to reflect her personal vision, rather than the folk art motifs she had been taught.

W. Logan Fry also learned pick-up double weave in the Norwegian tradition. His work, however, reflects his interest in technology and its use in recording and transmitting information George-Ann Bower's works reflect a mastery of layered textile art. Her weavings take their inspiration from nature and geophysical forms. Aspen George-Ann Bowers ©2001 Some have adopted pick-up double weave as a natural extension of their exploration of loom-controlled forms. Paul O'Connor manipulates double-woven threads to create patterning he could not achieve by threading and treadling alone. Jan Doyle achieves her playful, symbolic designs by visualizing them as she weaves, working from a small-scale drawing. Marie Westerman taught herself to use the interweaving layers of threads to render detailed photorealistic imagery. Being self-taught can lead to a habit of pushing possibilities. Jennifer Moore developed a unique approach, with one layer set up in a twill pattern. Her work explores geometric patterning and mathematical progressions. Elizabeth Kuhn, like some of the other artists, adds a third full layer of warp and weft threads to increase color and visual impact in work that expresses her social and political concerns. Conclusion Invention and departure from convention are hallmarks of fine art. In the 20th century, many artists resurrected traditional crafts, then created new works imbued with their own personal outlook and meaning. Each of the artists in Layers of Meaning recognizes something about double weave that causes them to devote their careers and entrust their vision to this textile form. Always a challenging form of hand-weaving, it continues to fascinate artists with the expanding possibilities that accompany the interlacement of warp and weft. - Marie Westerman .