5 Questions for Rug-Maker Meg Little

 

(original article from http://www.projo.com)

01:00 AM EDT on Sunday, March 27, 2011

Some artworks are made to be admired from afar. Others, like the vibrant one-of-a-kind rugs created by Middletown artist Meg Little, are meant to be enjoyed up close — preferably with your shoes off.
By combining old-school rug-making techniques with a visual vocabulary that includes everything from traditional African textiles to contemporary art, Little has earned a reputation as one of the top rug designers in the country. We talked to her last week as she was preparing for a new exhibit at the Newport Art Museum.
— Bill Van Siclen
Q: You were trained as a painter, first at the Tyler School of Art in Philadelphia and then at the Rhode Island School of Design. What got you started making rugs?
A: (Laughs.) It was fear — fear of not making enough money as a so-called “fine artist.” Actually, I was doing a lot of weaving before I started making rugs. It was great, but one of the things about weaving is that it’s a very linear process. You start at one end and work methodically toward the other end. By contrast, the tufting technique that I use to create my rugs is much more flexible. You can start anywhere you want and work in any direction you want. In that sense, it’s very similar to painting.

Q: One of the first things people see when they visit your web site ( www.meglittle.com) is a statement that reads: “Whenever someone asks me how long it takes to make a rug, I tell them it’s complicated.” What makes it so complicated?
A: For me, a handmade rug is like any other kind of art. The hands-on part — the actual physical labor — is only one step in a much larger process. For example, I don’t just make my own rugs. I also blend my own yarns, so that the colors match the palette that I have in mind. The idea for a pattern, meanwhile, might come from almost anywhere — a book that I’m reading on African textiles, a detail of painting that happened to catch my eye, a pattern that I’ve used before but which I think can be tweaked or reworked. So, yeah, it’s complicated.

Q: Your show at the Newport Art Museum is called “Journey: Recent Work by Rugmaker Meg Little.” What kind of “journey” are we talking about and how do the pieces in the exhibit stack up against your previous work?
A: I see it as a journey on several different levels. For one thing, there was the technical challenge of filling a large museum gallery. That meant the rugs had to be big, too. For example, five of the pieces in the show are 8 feet by 10 feet, which is huge by my standards. There’s also a piece that’s 7 feet by 15 and a runner that’s 3-by-10. I also took a slightly different approach in designing the rugs. In the past, I tended to use relatively neutral backgrounds. But the patterns in the new rugs are more likely to mesh and overlap. They’re more layered than anything I’ve done before.

Q: Most artists would cringe — or worse — if they thought someone was walking on their work. As someone whose work is made to be walked on, how do you cope?
A: Before I started making rugs I made wall hangings — that is, textile pieces that were made to hang on the wall like paintings. Back then, if someone had decided to use one of my pieces as a rug, I might have taken offense. But that was then. As soon as I started making rugs, I had to accept the fact that people were going to walk on them. After all, that’s what rugs are for. The ironic thing is that some people like my rugs so much that they put them on the wall anyway.

Q: The fact that rugs, even beautiful handmade rugs, are being exhibited in an art museum inevitably brings up the whole art-versus-craft debate. Do you think of yourself as an artist who makes rugs or as an artisan whose work is sometimes elevated to the status of “art”?
A: In today’s art world, it’s unfashionable to make things that are beautiful, useful or — and this may be the biggest crime of all — both beautiful and useful. So as someone who tries to make things that are beautiful and useful, I’m in the craft world by default. Unfortunately, there are a lot of craftspeople who also seem to think that lack of functionality is a positive virtue. So who knows? Maybe we need another word for things that not only do something useful, but look good doing it.
“Journey: Recent Work by Rugmaker Meg Little” runs through May 15 at the Newport Art Museum, 76 Bellevue Ave. For more information, call (401) 848-8200 or visit www.newportartmuseum.org.

bvansicl@projo.com

The Carpet Expert: Salahuddin Salu

(original article from http://www.starproperty.my)

By Willy Wilson | Aug 10, 2009

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Carpet has a diverse history that can be traced from the Aladdin folklore to the glorious Persian kingdom and all the way back to the era of cave paintings.
Weaving precious materials such as silk and cashmere in a pattern order that often represents a local culture, carpet symbolises a refinement stage of human’s civilization. Over the centuries, the art of making carpet has become a cross-border culture, shared by many countries around the Silk Road region.
Star Property chats with Salahuddin Salu, the sixth generation of the renowned Pakistan-based carpet producer and trader, Salam Carpet.  Founded in 1880 Islamabad, Salam Carpet is a major carpet trading company with showrooms in Dubai, Johannesburg, Singapore and Malaysia.
Two years ago Salahuddin ventured into the Malaysian market. His Bangsar showroom is stocked with beautiful carpets, specimens of exclusive brands from Afghanistan, Tajikistan, Iran and Turkey, apart from his own Salam brand. One can also find vintage collectables here. For the lower range items, Salahuddin has a few selection from India and China.

What are the things we need to consider when buying a carpet?
There are three main considerations that determine the quality of a carpet. Firstly, it is the material used. Carpets made of silk and pashmina are of top-notch quality.  However, if you want to go for the average quality carpets, the ones made of wool are good enough.
Secondly, find out how many knots per square inch the carpet has. So far, an Iranian brand, Qum, is the only one that has 800 knots per square inch. More knots means more intricate job and perfect craftsmanship.
Thirdly, consider the colour combination. A carpet should beautify your home, and pleasing to the eyes.  Colouring system ranges from normal chemical process to natural dyeing using leaves and flowers, while the latter offers more durability.

What country produces the best carpet?
It is hard to tell now. I personally still think Afghanistan carpets are the best, where carpet-making is still very much a home-based industry. It is not uncommon in Afghanistan to find a housewife working on a piece of beautiful carpet from home, and people just come to buy her work. And because the carpet is done by one person, there is consistency in the patterns. So you can say every produced piece is considered a masterpiece.
However, in terms of craftsmanship, Qum and Ispahan (name of cities in Iran) are still the best. Probably can only be rivaled by Turkish carpets like Hariky.

What is the price range like for such good quality carpet?
There is no fixed price tag.  For instance, take carpets from Afghanistan.  They are more expensive with age, provided, of course, if they are well-maintained. I have an 85-year-old Afghan carpet, made out of goat hair, that costs RM45,000. Afghan carpets are special because they get better with time; softer, smoother and cosier without looking dreary.  I also have a silk Iranian carpet that costs RM70,000. Having said that, my shop offers a wide variety in terms of price and quality, starting from a few hundreds.

China and India have massively produced carpets for the global market. How does that affect your business as a veteran in carpet-making industry?
Frankly, it doesn’t really affect my business as a carpet producer.  China, for instance, relies on machine to produce the carpets, and because of this the quality of the carpets produced isn’t up to par with ours, and the market knows it.  India, on the other hand, produces better carpets with better materials, but still isn’t of the same quality as compared to Turkey, Iran or Afghanistan.



Share with us some tips on how to maintain carpets.
Make sure that you keep your carpet away from water and fire. There is no such thing as water or fire resistant carpet. Also important is allowing space for humidity. One of my customers told me her carpet became stiff especially on the underside after she placed the carpet on a moist marble floor.  To make matters worse, she folded the carpet!. Now, she says the carpet can’t fall flat on the floor [laugh].

The vintage look

(original article from http://www.standardmedia.co.ke)




By Dorcas Muga-Odumbe

Everyone who loves vintage wants to try their hand with it. After finding the inspiration and going out to buy vintage pieces, most people get stuck.
Knowing what to buy, how to make it work with their own style and where to place it in their homes is their most difficult problem. 

To make sure you co-ordinate your vintage look, try these easy steps: 


Vintage looks for floorsA classy rug on the floor sets the tone for the room.
Depending on your theme, be it Middle Eastern, Asian, British or African, you should be able to easily find something that perfectly complements your home.
Big area rugs or small throw rugs can set the base mood and give you a few basic colours to build your style. 

WallsAlthough paint can do wonders for your decor, don’t limit yourself to four flat walls. Be creative and incorporate elements that give your walls depth and texture.
Simple but effective designs using cabinets, natural materials and mirrors can transform a plain room into a wonderful vintage statement. Fabrics and moulded gold vintage frames can also add a lot of dimension to your walls and cabinets.

Antique-look ceilingsWith the wall decor established, turn your attention tothe ceiling. Old tin-type tiles can be painted with matching colours to add a nostalgic look.
Overhead vintage light fixtures like chandeliers add an excellent touch and can be instrumental in establishing the ambiance of a room.

Old-fashioned furnitureYou should have a good idea of the type of furniture that looks best in your room. Keep basic themes, colours and shapes in mind as you consider your selections.
Adapt the furniture to your unique touch with upholstery and coverings.


Window treatmentsAn eclectic vintage window design takes advantage of the opportunity to mix-and-match different types of materials.
Put together a variety of creative treatments for different windows in the same room that let in the most sunlight while retaining optimum privacy.
Use coloured windowpanes to bring energy to your vintage rooms.