3chm Large Silk Akiha Devider, Chiaki Maki, malda and dupioni silk, dyes/anar, red chanda, 327" x 27.5", 1998, $1,275
12km Large Tassar Spun Silk & Wool, Kaori Maki, 70% malda and tassar silk, 30% wool, dyes/Ind, 260" x 22", 1998, $1,200
1chm Silk Shawl/Check, Chiaki Maki, 80% malda and tassar silk, 20% wool, yarn dyed by natural material, 82" x 31", 1998, $400
24km Tesu Shawl, Kaori Maki, malda and tassar silk, dyes/harad, indigo, 86" x 25", $380
Musashino Art University, Tokyo, Japan; Rhode Island School of Design, Providence. Maki has worked with artist Junichi Arai in Japan, and with weavers in New Delhi since 1989. In 1990, she started Maki Textile Studio.
Rhode Island School of Design, Providence. Maki has worked with Jack Lenor Larsen (1988) and other textile designers. She joined the Maki Textile Studio in 1992.
1chm Detail Silk Shawl/Check
Chiaki Maki Statement:
I use natural dyes and handspin my yarns. When weaving, I play with the yarns, letting them be free even on the loom. They have a very energetic character which changes their ability as they change their neighborhood. I very much enjoy how the yarns react when differing tensions are placed upon them and when their situations are changed. When I was weaving as a student at the Rhode Island School of Design, I experienced a moment in which I disappeared, and only the weaving remained. The piece that was born of that moment was fascinating, beyond any description. Such a moment is the very heart of my creation.
When touching the yarns, when dyeing with the plants, when throwing the shuttles, no matter where I am, in Japan, in India or in the United States, I disappear, the “no-mind" or “the emptiness" occurs, permitting my work to proceed. Chiaki Maki
Kaori Maki Statement:
Weaving is a very natural movement for me, like reaching out to touch a flower. When I am prevented from weaving for any period of time, I realize on returning to my workshop how very much I love it, how much it is a part of my everyday life, and how the very process of weaving serves as meditation for me. Sometimes the process of weaving for me begins with the material – I touch a material and I wish to weave a work made of it. Or, the process begins with an image – I see a beautiful landscape, or listen to a feeling very deep in my heart, and I wish to express that in my work. Or it may begin with an exploration of structure – a certain texture or sense of movement that I wish to create through my weaving. Or, the process may be spurred by color. I find that choosing amongst colors and touching various colored yarns is almost play, and that may explain why I mix many colors when making my warp.
Textile Magicians from Cristobal Zanartu