The Loom and it's Makers

By September 2012, we (see note) had the idea. We had the art, the studio space, the council's and The Bach's support and had visited the farm from where the fleeces for our project would come.  We had the energy and the enthusiasm for our Whangarei Community Project. What we didn't have was the loom.  Without a loom there could be no tapestry! 

There was no where closer than Christchurch or Melbourne where we could even go to see a loom similar to what we would need.  It had been suggested that a pipe frame may be possible.  This would be functional, but ugly and would have to be commercially made.  At this point, the whole future of our tapestry was in the balance - and then Glenda and Brian Ferguson came forward with a wonderful offer.  Using their combined skills and supported by their family, they would undertake the designing and making of the loom.

Even the Macrocarpa (see note) from which the loom would be made would come from their 5th generation property at Kauri.  The tree had been blown over by cyclone Bola in 1988.  Milled into huge slabs, it has been used for many projects over the years, including the bench tops here at The Bach.  Having had years to dry naturally and to stabilize, it would be marvelous for the
construction of the loom.

Glenda set out to research what we would need.  Using books, the internet and spending time with Beverly Compter, a very proficient weaver, she gradually formulated a design for the loom that would meet the major requirements. First and foremost, the loom must be strong enough to withstand constant pressure and tension placed on it by the warp threads.

Beverly talked about the big tapestries, where the loom had failed during the weaving.  A total disaster. So strength was number one.  It also had to be feasible for Brian to build the loom in the big barn where he had built their 34ft launch.  For the move down to the Town Basin, it had to be transportable. It had to be simple and straight forward to use, fit in the space allocated to it at The Bach and be easy and comfortable to work at.

There was another aspect that Glenda and Brian insisted was needed.  The loom must be beautiful; it must make a statement and enhance our tapestry during the weaving process. Brian was happy with the design that Glenda created and felt that it would meet all the requirements of a large tapestry loom and that he would enjoy making it a thing of beauty - something with a future life when other special tapestries will be woven on it.   

The design consisted of two pipes - diameter, 278mm for the cloth beam and 150mm for the warp beam.  These will give the strength needed. Two separate "A frames" form the ends. The middle sections of these "A frames" are glued solidly into place. The pipes come through these, connecting to a ratchet on one end and a collar on the other.

Though an electrician by trade, Brian has a great love - and skill - for working with timber, is a great problem solver and has the skill and aptitude to tackle challenging engineering issues.  When you combine this with a wonderful eye for seeing the beauty in a piece of timber, you have a winning combination of talents to create a truly lovely, working loom. 

The first step for Brian was to cut the beams from the macrocarpa slabs using a clamped straight edge and his skill saw. Natural edges have been left where possible to add "character" and interest. The 2 pieces with the straightest edges were selected for the front warp beams.  This is what the warps will go round.  Three other beams were selected for the back bracing.   All the beams are numbered and screw into place, making it easy to identify them when the loom is broken down so it can be transported.

A very special touch is the handles.  What to use for the mechanism that controls the turning of the cloth and warp beams? They need to be strong enough but look the part as well.  And then Brian with his clever eye, saw what was exactly right. One handle is from a large old mincer and the other is from a washing machine wringer! These have been welded on to the traxcavator clutches (found in a brother- in- law's shed) to make the
ratchet mechanism. 

Glenda has worked on the welds so they blend in and best
of all, it all works! A truly moment was reached when Glenda and Brian put the "aprons" on. All of sudden it looked like a working loom. The aprons are made of two layers of 7oz canvas. The timber of the loom has been oiled and looks beautiful.  

A big moment for the creators of this special loom will be when they see it set up in its working studio at The Bach, surrounded by coloured wools, four people comfortably seated in front of it weaving, bobbins flying, the tapestry nearing it first "Roof Shout" point and the magic of "Whangarei - Our Place" being revealed. 

 
While all this was happening, Glenda and Brian were also busy sourcing furniture and equipment for the working studio.  We want this to be a welcoming and relaxing area and also a place where learning about weaving and tapestry can happen.  We needed an easel for the art work, seating for the loom, learning work stations, tables and comfortable seating where visitors can relax.  For a short time, members of the Ferguson family learnt
to run the other way when they saw them on the hunt!  Now the loaned furniture is beautifully restored, recovered and ready to go and we have a real and functional weaving studio. 

Note 1 : "We" are the setting up committee of Glenda Ferguson, Beverly
Compter and Jackie Addenbrooke, wonderfully supported by family, friends and
community.  We undertook to get our Whangarei Community Tapestry Project to
the stage of the Opening when the tapestry would be ready for the general
weaving to start.  We have achieved this and now a Working Committee has
been established with 8 members - Beverly Compter being the weaving master
and Jill Hartles, the chair person.  This committee will take the tapestry
through to finishing and hanging in conjunction with the WDC.

Note 2 : Macrocarpa as defined by Wikipedia: a member of the cypress family
which has been known and recorded as a valuable building timber historically
since biblical times.  Macrocarpa has always been recognized for its natural
durability, consistent structural strength and sort after decorative appeal.