AZTEC STUDIOS:

Welcome to Aztec Art and Weaving Studios on volcanic Lake Chapala in Mexico's central highlands. We are celebrating our tenth anniversary! This walled-in environment is home to my weaver, Maestro Francisco Urzua, Max Bird, Precious Poodle, and Isabella and Pedro cats as well as myself.

The front of our property that houses a local (business front) is only fifteen feet wide. I think of our local, that holds our primary loom, as the engine to our extended two story live and work habitat as the rest of our spaces are joined, one behind the other, like the cars of a train. Visitors are amazed that such a small entrance could house such an expansive live/work space.

As weavers of the truly unique, we love what we do. Except for an occasional Ajijic Cultural Center exhibit,we do not show our work in other galleries or spaces, and everything at AZTEC STUDIOS is our own work. We like visitors who come to see us and we feel proud when they admire our tapestries. (Max and Francisco love to have their pictures taken.) It is best to call or e-mail ahead to let us know when you will be coming, as keeping regular hours is not part of the lifestyle lived at AZTEC STUDIOS.* Janicekimballmx@gmail.com ----*http://www.facebook.com/janicekimballmx 

 

 

If you happen to be driving by and would like to visit, we are there whenever our metal  door is ajar. Come in and catch as we are are, most likely working, as this is a live/work space. We will be happy to show you around.

The loom that Francisco weaves tapestries on is more than 300 years old. It has mortised joints and was constructed without nails, the same design and construction as looms brought to Mexico by the conquistadors in the hold of ships.

 

We are able to weave a pattern up to three feet in width on this loom, so some of our larger wall pieces are worked in panels. We are able to weave large patterns that are not repeated, like those woven on a conventional loom, because of the more expansive work area a primitive two-harness loom like ours provides. The larger surface, however, requires the weaver to work standing while pumping the stiff pedals and stretching their body over the large work space. This is a man's job in Mexico. Only sons are allowed in this space and a child's chair is always placed at the foot of the loom where they are apprenticed, as Francisco was, from the time they are small children.  

There is a lot more to weaving than tossing a shuttle and pushing on pedals. We usually warp the loom for three tapestries of the same width requiring from 200 to 350 threads. Francisco drives metal posts between the cobblestones several yards apart and walks back and forth with the thread that many times bending over at each pass so that the thread is placed correctly on the post. This arduous and time-consuming task often mysteriously includes chewing on carrot sticks.

The following day the loom will be warped. Each thread is broken off one at a time, untangled and tied onto the previous warp. The warp is very carefully wound up into the loom. On day three the tension on each thread must be adjusted. All 200 to 350 threads are untied, pulled to equalize the tension, and retied. This is why we cannot give a straight answer when asked, "How long did it take you?"

Each of the weavings at AZTEC STUDIOS is an original, although we do offer custom made pieces of different color and size from our archived patterns, as well as interpretations from designs that are brought to us. A weaving design is drawn on large sheets of paper, often taped together. Besides aesthetic and formal design considerations, I have to consider how much material we have on hand to complete a passage, as well as weight a breadth of the chosen material, and how one material will link into another when woven, especially in detailed areas. This can only be learned through experience.

A sample of each color must be taped on the design before Francisco makes a tracing onto the warp which he will follow. Usually, colors need to be planned in advance because as the weaving progresses the colors that had been used are rolled up into the loom. There is little visual evidence of the color placement that had been done before the area currently being worked on.

As artists we work in the combinations of materials that enhance our designs. Some of our wool weft we hand-dye in a big pot over an open fire in the street. We use fadeproof chemical dyes ordered from the United States for this. We also buy wool from Chiapas whose color is derived from natural material. We also like to include the intense color of acrylic yarn, as well as chenille, linen, cotton, rayon and metallic in our pieces. Occasionally we will do an all-wool piece, as we do have clients that insist on it, but working that way is not our preference. We like to wing it, take our chances, and like the element of surprise that often delights us. This is what keeps us weaving.

When we are visited by those left of Francisco's extended family of weavers they cannot believe the intricacy and accuracy Francisco is able to weave on his loom here at AZTEC STUDIOS. They cannot believe that each piece that we do is one of a kind and not repeated.

Our studio is easy to find. It is on the main highway in West Ajijic across from my Rancho Del Oro Serpent Mural. Hope to see you. JaniceKimball.com for appointment or when you catch us.