Textile Artists News

Five lizhnyky will stay in Kosiv as a cross-section of the craft this decade.

Small frames instead of looms: a lizhnyk cannot be woven in a day, but the principle can be grasped.

Not from tradition, but because synthetics fade in patches within ten years.

The exhibition names them, for the first time at this scale.

From those who weave by their grandmothers' diagrams to those who draw the pattern in advance.

Visitors may touch them; with wool that is the only way to grasp the difference.

The pattern here reads through texture alone, with no tonal contrast.

It is finer, so the cloth came out nearly twice as light as the rest.

Sheep from higher meadows give darker wool, and the transition between them looks softer.

Every shade comes from the wool of different flocks, from cream to dark brown.

Twelve diagrams at a scale usable for repeating on a loom.

Until now they were shown only in Kosiv and in private collections.

The difference is nearly invisible up close and works only from three metres.

The show places both crafts side by side: wood and wool speak one ornamental language.

The motif is traced from a classic central placement to one shifted to the edge.

An agreement with the Museum of Ethnography is in place; dates follow the close of the Kosiv part.

The rhombus with a dot inside appears in both crafts, and that is no coincidence.

A week of that is dyeing the yarn, and only two days are the weaving itself.

It arises from the technique itself: a diagonal is the simplest way to change colour without breaking the weft.

Three rows of rhombuses remain; red is replaced by terracotta and madder.