Weddings at Dovecot Studios

Tapestry, History and Legacy

Archie Brennan’s practice examined contemporary culture through the lens of classical tapestry weaving. His work was firmly rooted in the here and now, but at the same time was indebted to Medieval, pre-Columbian and Coptic tapestry weaving. It was this fundamental understanding of tapestry and respect for its long traditions that allowed Brennan to subvert the conventions and break the rules of tapestry. 

Weaving Water

Browse tapestries by the artists for Weaving Water.

Other works on display

The Art of Wallpaper - Morris & Co.

Some of the iconic patterns that feature in the exhibition.

Gallery TEst

Description

Learning with Samples

This first section of the exhibition features the earliest small samples and technical exercises woven by Wilson. These are the start of an apprentice weaver’s journey into making tapestry and each exercise focuses on a difference different technique. The very first exercise, introducing in the techniques required for making basic shapes, has changed very little since the first weavers were trained at Dovecot in 1912.

Tapestry, History and Legacy

Archie Brennan’s practice examined contemporary culture through the lens of classical tapestry weaving. His work was firmly rooted in the here and now, but at the same time was indebted to Medieval, pre-Columbian and Coptic tapestry weaving. It was this fundamental understanding of tapestry and respect for its long traditions that allowed Brennan to subvert the conventions and break the rules of tapestry. 

Textile Perspectives 

A continuing theme in Brennan’s work is the depiction of other textiles through the visual language and technical construction of tapestry. By using textile as a subject, Brennan found a fertile source of inspiration. As well as embracing the technical challenges, he could also play with the viewer’s perception and expectation of what tapestry could be. Brennan distilled textile elements down to essential forms; making ties, tablecloths or towels the sole focus of a work, or combining textile elements so that clashing patterns, perspectives and trompe l’oeil are employed to create visually arresting compositions.

Interpreting Paint

As a weaver at Dovecot, it’s important to interpret various textures, mediums and forms. A great deal of interpretation comes in forms of diverse applications of paint. This is something Wilson is particularly interested in, with a background in studying painting and printmaking at Art School, as well as painting within her studio practice. Wilson began with exploring painterly forms by others, as well as interpreting her own work. 

Textile Perspectives 

A continuing theme in Brennan’s work is the depiction of other textiles through the visual language and technical construction of tapestry. By using textile as a subject, Brennan found a fertile source of inspiration. As well as embracing the technical challenges, he could also play with the viewer’s perception and expectation of what tapestry could be. Brennan distilled textile elements down to essential forms; making ties, tablecloths or towels the sole focus of a work, or combining textile elements so that clashing patterns, perspectives and trompe l’oeil are employed to create visually arresting compositions.

Global Exchange 

Brennan’s pursuit of new creative challenges took him from Edinburgh to New York, via Australia, Papua New Guinea, and Hawaii. He helped to establish the Victorian Tapestry workshop (now the Australian Tapestry Workshop), taught at the National Art School in Papua New Guinea, and taught tapestry to groups across North America. Much of Brennan’s artistic output reflects his global perspective, from his engagement with the long tradition of tapestry maps to his avant-garde tapestry postcards displaying casual notes and messages.

Interpreting Others

Dovecot works in collaboration with leading international artists by commission, the interpretation of artists work is an integral part of the apprenticeship and weaving at Dovecot Studios. 

Global Exchange 

Brennan’s pursuit of new creative challenges took him from Edinburgh to New York, via Australia, Papua New Guinea, and Hawaii. He helped to establish the Victorian Tapestry workshop (now the Australian Tapestry Workshop), taught at the National Art School in Papua New Guinea, and taught tapestry to groups across North America. Much of Brennan’s artistic output reflects his global perspective, from his engagement with the long tradition of tapestry maps to his avant-garde tapestry postcards displaying casual notes and messages.

Creative Collaborations

Brennan was Artistic Director of Dovecot Studios from 1962 – 1978 and during this time he oversaw some of the Studio’s most ambitious collaborations and large commissions. Brennan fundamentally altered the role of the weaver at Dovecot, ushering in the first generation of art school trained weavers and encouraging his colleagues to view themselves as artists in their own right, as opposed to skilled copyists. The Dovecot was a relatively small studio, in comparison to Northern European enterprises. The scale of production and Brennan’s insistence that weavers should exercise creative freedom gave rise to some of the most exciting tapestry projects of the twentieth century.

Tapestry Goes Pop

Much like his peers, Eduardo Palozzi and Tom Phillips, Archie Brennan was interested in contemporary culture, the everyday, and media imagery. While other Pop practitioners elected to explore these themes through more immediate mediums such as collage, printmaking and casting, Brennan did so within the limitations of classical tapestry weaving. Brennan was fascinated by celebrity imagery and depicted Muhammad Ali on numerous occasions. In these celebrity tapestry portraits facial features are broken down into simple geometric forms, which are, nonetheless, instantly recognisable.

Creative Collaborations

Brennan was Artistic Director of Dovecot Studios from 1962 – 1978 and during this time he oversaw some of the Studio’s most ambitious collaborations and large commissions. Brennan fundamentally altered the role of the weaver at Dovecot, ushering in the first generation of art school trained weavers and encouraging his colleagues to view themselves as artists in their own right, as opposed to skilled copyists. The Dovecot was a relatively small studio, in comparison to Northern European enterprises. The scale of production and Brennan’s insistence that weavers should exercise creative freedom gave rise to some of the most exciting tapestry projects of the twentieth century.

Word and Image

Wit and humour underpinned much of Brennan’s work and his love of language, pun and wordplay was evident in many of his tapestries. Brennan began creating purely text-based works in 1966 with a commission for the London and Edinburgh Insurance Company. There is a deceptive simplicity in many of these text-based works, which often employed trompe l’oeil and other techniques to complement the words, which feature in the tapestries. 

Tapestry Goes Pop

Much like his peers, Eduardo Palozzi and Tom Phillips, Archie Brennan was interested in contemporary culture, the everyday, and media imagery. While other Pop practitioners elected to explore these themes through more immediate mediums such as collage, printmaking and casting, Brennan did so within the limitations of classical tapestry weaving. Brennan was fascinated by celebrity imagery and depicted Muhammad Ali on numerous occasions. In these celebrity tapestry portraits facial features are broken down into simple geometric forms, which are, nonetheless, instantly recognisable.

Material Thinking

For Brennan the tapestry cartoon was only a starting point, not a definitive design to be slavishly copied. His process of designing for tapestry was always led by the weaving. A selection of Brennan’s cartoons and designs help understand his weaving style, design technique and thought processes. 

Word and Image

Wit and humour underpinned much of Brennan’s work and his love of language, pun and wordplay was evident in many of his tapestries. Brennan began creating purely text-based works in 1966 with a commission for the London and Edinburgh Insurance Company. There is a deceptive simplicity in many of these text-based works, which often employed trompe l’oeil and other techniques to complement the words, which feature in the tapestries. 

Material Thinking

For Brennan the tapestry cartoon was only a starting point, not a definitive design to be slavishly copied. His process of designing for tapestry was always led by the weaving. A selection of Brennan’s cartoons and designs help understand his weaving style, design technique and thought processes.