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loomeweight II

loomeweight II is a new performance project for one loom and two singers, unfolding over 45 minutes of weaving and sound.

 

loomeweight is a ritual of remembering the un-rememberable, a gathering of voices and threads, a story told in increments, unravelling and finding itself through its sharing. The performers sit across from each other, the weight of their bodies providing the necessary tension for the warp to be woven into. The structure of the loom is an homage, an imagined version of a historical loom used by cultures across the world.  As we weave, an analogous tapestry of sound will unfold, an obscured map built from the fragments of folk songs, sounds of mechanical looms, archival recordings of voices - the remnants of a broken aural / tactile tradition, reimagined / reformed / reconstituted into a new language.

 

loomeweight critiques the failures inherent in a system which promotes consumption over the sustainable processes of creating and community building. loomeweight explores the omnipresent theme of ecological collapse, repurposing discarded objects into something of value. loomeweight II remembers lost traditions, dislocated communities and the weavers who suffered and starved; the collateral damage of industrialisation.

 

loomeweight works in opposition to correctness. loomeweight is a celebration of trash. Those who come to witness loomeweight are welcomed - they become a part of the weaving and the calling. loomeweight is vulnerable. loomeweight is impractical. loomeweight is playful. loomeweight is persistent.

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loomeweight II so far:

R&D for loomeweight II began in the summer of 2025 – we built a new loom! loomeweight II is a backstrap loom which is another ancient form of loom, worn around the body of the weaver. We will be facing each other, using gentle resistance against each other in order to tension the warp, necessarily involving our bodies in the work in a completely new way. 

winter of 2026 -  we spent a wonderful week at Hawkwood Centre on an artist residency. We developed the architecture of the piece and began to work on the sounds, exploring archival recordings of weaving factories, songs from the past, medieval stories, the cries of the Goshawk. 

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