Afghans…
I’ve just completed my fourth wild afghan. In a time when knitting is so popular, I do crochet. Still, I work with yarns.
When I was a girl, the Jewish grandmother across the street from where I lived taught me to knit and needlepoint. Later, in my twenties, I taught myself to crochet from a little booklet.
Over the long years since then, I did try my hand at some needlepoint. I wanted to break the boundaries of needlepoint, to color outside the lines. Usually, needlepoint is a very civilized medium, following patterns with clear rules. I wanted to transform it into something fun and unexpected. So I taught myself textures and shaped stitches and approached unprinted canvases with the intent to go wild on them. I found myself still trapped within the confines of a flat grid surface, but I broke new ground with color and abstraction. Somewhere, I still have those strange canvases.
When hair wraps became popular in the early 1990s, I was in the early days of my jewelry business, learning to market the things I was making. I was a vendor in New Orleans’ French Market. It was a tough living. Going through the lottery for available spaces when certain vendors had rows and rows of booths already locked up… Dealing with those famous New Orleans floods, from which I learned to use waterproof plastic bins for my display and wares. In those days, I had no booth tent at all and stood in the sun and rain -- and occasionally even snow, trying to stay hopeful that enough people would buy my jewelry that I could afford to go home to make more.
In that environment, I began to notice the pirate hair wrap vendors. The hair wrappers in New Orleans needed no French Market booth. They needed only a blanket or small stool and a box of embroidery threads and some beads and a scissors. And bravery and talent. I met one wrapper whose work I admired and traded him some jewelry for a lesson in how to do wraps. He reluctantly revealed his secrets of successful hair wraps. It was my thought to supplement my jewelry income with wraps when I needed to.
I remember that when I first learned how to do it, it was very frightening to do wrap in someone’s hair. Touching them so intimately and having to please them with something they’d be living with for many weeks, wherever they went, whatever they wore, was nerve-wracking. But soon I got the hang of it and learned to break the designs rules of the other wrappers. For one thing, I owned a car and could get out to Wal-Mart to buy threads. From my background in painting, needlepoint and from embroidering blue jeans in my teens, I was familiar with the soft, multi-ply threads and wasn’t afraid to use them in unusual but beautiful color combinations. I recalled my macramé and knotting skills and incorporated texture into my wraps. I found tiny strips of leather to add. And because I already worked with beads in my jewelry, I had a great advantage with them, too.
The day came very soon when I had a list of clients for many hours on any day that I set up my camp stool at “Hippie Hill,” an edifice right across Decatur Street from the St. Louis Cathedral. On a particularly busy day, when there were many other wrappers there, I had a list of clients longer than I could fulfill in a long work day. I suggested to some that they use another wrapper, but they refused. One admitted to me that I was the only wrapper there that she would allow to touch her, plus she loved my wraps. I think that was the moment I realized that I was succeeding. In a time when a long hard day in the French Market selling jewelry would net me $100, I’d make $800 doing hair wraps! I’d never worked a job that brought tips before, but now I did. And they added to my income.
Hair wrappers always faced the dilemma that their craft was not allowed in society. I did not fully understand this when I started. They faced a Catch-22 in that they were illegal because they were not licensed, but they could not get licensed because they were not legal. They simply were not wanted. And because of this, there was no way to assure that you could do business all day. Nor was there a way to pay sales tax. The cops would arrive to shut us down, but we’d reopen as soon as they went away. One Mardi gras day, “Hippie Hill” was blocked and so I and several other wrappers simply moved all over the Quarter doing wraps wherever we could.
At the end of the season, I ceased going to New Orleans to vend. My life moved on and I was tired of the street-vending life. The cops were growing more vicious and some wrappers were being jailed. “Hippie Hill” was redesigned so it couldn’t serve as a hair wrap location. And the fad began to fade. Sadly, I folded my shop and came back to Florida, where I attempted to do wraps in different settings, getting busted each time. Fortunately, never seriously.
I’ve concentrated for many years on the jewelry business. It, too, has its ups and downs. I think I make beautiful stuff, sometimes seriously beautiful stuff, but it is folly to think this business will ever behave with the security of even the most menial job. It must be reinvented each season. Art shows have no loyalty to me and I have to scrabble my way along. Last year, I added crochet to my creative activities. I often make simple wooly scarves, but now I have also completed four wooly afghans. They are alike and different. They are wonderful. The first I gave to my parents for Christmas. The second I took to Melanie in Vermont. The third I am keeping for my own living room and the fourth – which I finished tonight – is for sale in my studio/gallery. It is the largest and heaviest of them all.
I will try to stop for now and get back to the jewelry business. It is almost Valentine’s. And now that the fourth afghan is finished, I’m eager to dive into beads, which will lead to metals.
I have not been so up and out lately. As I’ve said in other essays, artists are tired in January. But I am so grateful for being allowed to live the creative life and to make beautiful things. When I leave this world, I will leave behind a body of weird, strange and gorgeous things in several different media. I’ll not have inspired the world with my own great beauty; nor impressed people with star quality or sex appeal. But perhaps I will cause them to stop for a moment to see what my hands have made, and they’ll know something of me, and something of themselves. This is my way of expressing love for the world, for materials and processes, and for people, whom I love very, very much.
I’ve just completed my fourth wild afghan. In a time when knitting is so popular, I do crochet. Still, I work with yarns.
When I was a girl, the Jewish grandmother across the street from where I lived taught me to knit and needlepoint. Later, in my twenties, I taught myself to crochet from a little booklet.
Over the long years since then, I did try my hand at some needlepoint. I wanted to break the boundaries of needlepoint, to color outside the lines. Usually, needlepoint is a very civilized medium, following patterns with clear rules. I wanted to transform it into something fun and unexpected. So I taught myself textures and shaped stitches and approached unprinted canvases with the intent to go wild on them. I found myself still trapped within the confines of a flat grid surface, but I broke new ground with color and abstraction. Somewhere, I still have those strange canvases.
When hair wraps became popular in the early 1990s, I was in the early days of my jewelry business, learning to market the things I was making. I was a vendor in New Orleans’ French Market. It was a tough living. Going through the lottery for available spaces when certain vendors had rows and rows of booths already locked up… Dealing with those famous New Orleans floods, from which I learned to use waterproof plastic bins for my display and wares. In those days, I had no booth tent at all and stood in the sun and rain -- and occasionally even snow, trying to stay hopeful that enough people would buy my jewelry that I could afford to go home to make more.
In that environment, I began to notice the pirate hair wrap vendors. The hair wrappers in New Orleans needed no French Market booth. They needed only a blanket or small stool and a box of embroidery threads and some beads and a scissors. And bravery and talent. I met one wrapper whose work I admired and traded him some jewelry for a lesson in how to do wraps. He reluctantly revealed his secrets of successful hair wraps. It was my thought to supplement my jewelry income with wraps when I needed to.
I remember that when I first learned how to do it, it was very frightening to do wrap in someone’s hair. Touching them so intimately and having to please them with something they’d be living with for many weeks, wherever they went, whatever they wore, was nerve-wracking. But soon I got the hang of it and learned to break the designs rules of the other wrappers. For one thing, I owned a car and could get out to Wal-Mart to buy threads. From my background in painting, needlepoint and from embroidering blue jeans in my teens, I was familiar with the soft, multi-ply threads and wasn’t afraid to use them in unusual but beautiful color combinations. I recalled my macramé and knotting skills and incorporated texture into my wraps. I found tiny strips of leather to add. And because I already worked with beads in my jewelry, I had a great advantage with them, too.
The day came very soon when I had a list of clients for many hours on any day that I set up my camp stool at “Hippie Hill,” an edifice right across Decatur Street from the St. Louis Cathedral. On a particularly busy day, when there were many other wrappers there, I had a list of clients longer than I could fulfill in a long work day. I suggested to some that they use another wrapper, but they refused. One admitted to me that I was the only wrapper there that she would allow to touch her, plus she loved my wraps. I think that was the moment I realized that I was succeeding. In a time when a long hard day in the French Market selling jewelry would net me $100, I’d make $800 doing hair wraps! I’d never worked a job that brought tips before, but now I did. And they added to my income.
Hair wrappers always faced the dilemma that their craft was not allowed in society. I did not fully understand this when I started. They faced a Catch-22 in that they were illegal because they were not licensed, but they could not get licensed because they were not legal. They simply were not wanted. And because of this, there was no way to assure that you could do business all day. Nor was there a way to pay sales tax. The cops would arrive to shut us down, but we’d reopen as soon as they went away. One Mardi gras day, “Hippie Hill” was blocked and so I and several other wrappers simply moved all over the Quarter doing wraps wherever we could.
At the end of the season, I ceased going to New Orleans to vend. My life moved on and I was tired of the street-vending life. The cops were growing more vicious and some wrappers were being jailed. “Hippie Hill” was redesigned so it couldn’t serve as a hair wrap location. And the fad began to fade. Sadly, I folded my shop and came back to Florida, where I attempted to do wraps in different settings, getting busted each time. Fortunately, never seriously.
I’ve concentrated for many years on the jewelry business. It, too, has its ups and downs. I think I make beautiful stuff, sometimes seriously beautiful stuff, but it is folly to think this business will ever behave with the security of even the most menial job. It must be reinvented each season. Art shows have no loyalty to me and I have to scrabble my way along. Last year, I added crochet to my creative activities. I often make simple wooly scarves, but now I have also completed four wooly afghans. They are alike and different. They are wonderful. The first I gave to my parents for Christmas. The second I took to Melanie in Vermont. The third I am keeping for my own living room and the fourth – which I finished tonight – is for sale in my studio/gallery. It is the largest and heaviest of them all.
I will try to stop for now and get back to the jewelry business. It is almost Valentine’s. And now that the fourth afghan is finished, I’m eager to dive into beads, which will lead to metals.
I have not been so up and out lately. As I’ve said in other essays, artists are tired in January. But I am so grateful for being allowed to live the creative life and to make beautiful things. When I leave this world, I will leave behind a body of weird, strange and gorgeous things in several different media. I’ll not have inspired the world with my own great beauty; nor impressed people with star quality or sex appeal. But perhaps I will cause them to stop for a moment to see what my hands have made, and they’ll know something of me, and something of themselves. This is my way of expressing love for the world, for materials and processes, and for people, whom I love very, very much.
