Gallery

A small hand-woven white cloth with fringes and embroidery. The cloth has a border of orange running stitch and features an embroidered owl in its center with Athens written under it, two olive branches, two spiders trailing a geometric web, and two grey snakes.
"symbols played a very crucial role in performing religious purposes in a setting like the Panathenaia"
A close-up of the own embroidery, done in browns and greys.
A short, narrow tablet woven band in white and brown with patterned zig-zag stripes.
Three brown and white tablet woven bands. The first is striped with zigzags, the middle has a messy zig-zag design, and the bottom in very narrow and has a neat brown meander.
"This project investigates the translatability of geometric decorative motifs found on Classical Mediterranean pottery into the medium of tablet weaving... This project aims to experimentally explore how these patterns can be recreated through tablet weaving techniques."
A set of dyed wool swatches taped onto a labelled grid. They are arranged in three columns: Red, Yellow, and Blue. Each column has two columns of swatches side by side, one dyed with an ancient dye and one with a modern dye. They are divided into rows: Washing, Washing w/detergent, Washing w/ rock, and UV lighting. The modern dyes are vibrant and don't show much difference between the different rows. The ancient red is very pale, and shows some fading after being washed. The yellow is vibrant, but also has some fading after being washed. The ancient blue is almost black and shows no fading.
"I will provide analysis on the colorfastness of each dyeing method by applying different treatments to the fabrics."
A t-shirt and wool roving dyed with indigo. The shirt is a pale mottled blue, and the wool is a denim tone.
"blue dyes were extremely important in mediterranean societies."
Three pieces of resist dyed colorful linen in yellow, pale purple, and coral. On top of them are various small pieces of dyed wool and linen cut into shapes such as hearts, flowers, and bears.
"I chose saffron, madder root, and logwood for this project because each of these colors holds strong cultural and symbolic meaning in the ancient Mediterranean world."
Cutout hearts, flowers, squares, and circles naturally dyed pale orange and yellow.
"These shapes blend ancient practices with modern expressions of care, creativity, and personal meaning."
A student shows her vertical two-beam loom to a guest. The loom sits on the table, shaped like a wooden frame, and has a piece of weaving in progress warped on it.
"The experience of wefting downwards greatly differs from wefting upwards - in downwards-wefting vertical two-beam weaving, the warp threads are tied to beams on the top and bottom of the loom. Wefting downwards also allows for the weaver to sit for much of the work, standing upon progression of the height of the textile."
A piece of fine and fluffy woven fabric held in front of a window so that the sun shines through, showing the transclucency of the weave.
The same piece of fine fluffy woven fabric laid out. It has stripes of pink, light blue, and darker blue.
A small piece of fabric with a woven floral design using the supplemental weft decorative technique. The ground fabric is blue and the pattern a speckled cream.
"This project helped me to gain a much better understanding of what Ancient Greeks had to go through to create patterns within their weaves. I was not expecting it to take as much mental stress and energy as this required, and I have a new respect for the children and women who have dedicated their lives to this kind of craft."
Two bowls holding bright green grass and pine needles.
"I attempted a modern version of ancient dye discovery."
Two bowls holding pounded up grass and pine needles.
Wool roving soaking in an alum mixture.
Two pots of wool roving sitting in a pale yellow dye mixture made from the grass and pine needles.
A miniature art mannequin dressed in an ancient Greek woman's outfit. She wears a gray peplos with a white belt, a blue himation, a dark blue headscarf, a pearl necklace, and golden arm bands.
"The process of creating these miniature garments helped me understand the deeper meaning and care behind every layer of ancient Greek clothing."
The same art doll with her himation removed to better see the peplos beneath. A black and white cat stands on the table next to it and gives it a sniff.
A grey rectangle of woven fabric with geometric designs in god, dark grey, and yellow. The ends are finished with fringes. Designs include stripes, zig-zags, and meanders. The fabric held in hand. It's about the size of a hand towel.
A closeup on the patterned weaving.
"We draw inspiration from the world around us, and as geometric patterns were so common in the Greek world, I believe it is within reason to assume that textiles could display those same patterns, especially if those ceramics were in the domestic setting where they could be seen regularly."
A piece of weaving in progress on the warp-weighted loom. white warp threads are painted with a pale pink design which appears striated as the white, loosely packed weft passes through.
"The specific technique I used for my project is called warp-painting... What drew me to this process initially was the unique way that the painted image is abstracted when the weft is woven in, yet there is still vast potential for representing recognizable images."
The completed woven piece: A long, narrow, tabby white wool fabric. Four pale pink striated shapes are painted on the warp from top to bottom depicting the gestational growth of a dog fetus.
A closeup on the final warp painted image. The fine and even weave is also visible.
"I wove in the weft using a simple warp-facing tabby weave, and I ended up doing a semi-open weave so that my painted design would be more visible in the final product. I created multiple iterations, experimenting with string thickness and methods of applying paint.
A small weft-faced tapestry depicting a dark sea, pale blue mountains, and a gray sky with a red sun and clouds.
"The process reinforced the point that emerged from my research: tapestry, while requiring careful pre-planning of the image and color areas, is relatively straightforward to weave once the design is established."
A front view of a miniature 3D printed ship with two sails - one larger and one smaller. Both sails are woven out of white linen thread. The larger sails has strips of webbing sewn on dividing it into four segments.
"For my recreation, I tabby wove the two sails out of plain white linen thread, as linen was the main material used to produce sails in ancient Greece."
A front view of a miniature 3D printed ship with two sails - one larger and one smaller. Both sails are woven out of white linen thread. The larger sails has strips of webbing sewn on dividing it into four segments.
"For my replication, two small woven sections were sewn together for the mainsail, although the foresail was woven in just one section due to its already small nature. In addition to sails woven in smaller segments, reinforcements are woven and sewn into the sail.
A back view of the ship and larger sail, showing the linen rigging tying the sail to the t-shaped mast.
A long magenta tablet woven band with a white zig-zag pattern throughout.
"While difficult for a beginner to weave, mantles edged with contrasting tablet woven borders appear often in Etruscan art, suggesting their popularity among people wealthy enough to commission these artworks."
The magenta band and a smaller blue and white band with a meander pattern.