Kate Anderson



Teapots and cups are familiar and comfortable icons; I create them as containers to hold images of visual art icons. High-art/low-art references come into play by utilizing the teapot or cup, common craft objects, as my sculptural archetype juxtaposed with images appropriated from ‘high art’. Quotation, allusion, abstraction, and art/craft references come into play as the repetitive knotting process simultaneously creates a structure, surface and image.

Artist Statement:  Kate Anderson


O'Keeffe Brush Teapot knotted waxed linen 12 h x 7 w x 2 d Photo Credit: Mark D'Harlingue




O'Keeffe Brush Teapot knotted waxed linen 12 h x 7 w x 2 d Photo Credit: Mark D'Harlingue















JIM DINE BRUSH TEAPOT knotted waxed linen, mm 12.5h x 7w x 2.75d Photo Credit: Mark D'Harlingue

JIM DINE BRUSH TEAPOT knotted waxed linen, mm 12.5h x 7w x 2.75d Photo Credit: Mark D'Harlingue













LICHTENSTEIN CUP/DARLING 3.5" x 8.75" diameter Photo Credit: Jon Koch


“Kate Anderson uses the teapot as sculptural armature for her visual message. Pop icons within the canon of fine art are recreated using traditional knotting techniques thus blurring the boundaries between art and craft.”

— Nancy Margolis Gallery

Warhol Teapot/American Beauties Knotted waxed linen, stainless steel 9.25” x 9.5” x 2” Photo Credit: John Koch


Warhol Teapot/American Beauties Knotted waxed linen, stainless steel 9.25” x 9.5” x 2” Photo Credit: John Koch


Warhol-Haring Teapot/Mickey Mouse II Knotted waxed linen, stainless steel 9” x 13.5” x 2” Photo Credit: Jon Koch










Warhol-Haring Teapot/Mickey Mouse II Knotted waxed linen, stainless steel 9” x 13.5” x 2” Photo Credit: Jon Koch



So, who is Kate Anderson?  I’ve been looking at her work online for years and it’s my great pleasure to introduce you to her if you don’t already know her work.

Artist Bio

Kate Anderson, a painter since 1982, began knotting in 1996 after a workshop with noted textile artist Jane Sauer. Kate’s knotted objects often reference the work of famous painters from the pop era. Her work has been exhibited internationally in museums and galleries including the Boston Museum of Fine Arts; the National Craft Gallery of the Irish Craft Council; Kaohsiung Museum of Fine Arts, Taiwan; and the Museum of Arts and Design, New York. Over the past 30 years she has had extensive professional experience as a gallery director, curator, juror, panelist and workshop leader.


Thanks Kate for your art and your spirit. It’s good to have you here!

And here is my favorite piece.

TOM WESSELMAN TEAPOT Knotted waxed linen and stainless steel 8.5" x 12.5" x 1.75" Photo Credit: Tony Deck

TOM WESSELMAN TEAPOT Knotted waxed linen and stainless steel 8.5" x 12.5" x 1.75" Photo Credit: Tony Deck

Cavandoli Workshop Update

There are two spots left for the workshop.  Deadline for registration is March 23.

We have the full information about Marion Hunziker-Larsen’s Cavandoli Knotting Workshop here:
We are limiting the class to 13 participants so everyone gets individual attention/time. 
You will be able to choose the color scheme you would like to make and she will provide kits that include all of the supplies needed to complete the project for a $12 material fee.   Total 2 days workshop cost (fee and materials) will be $92.  Registration cost is kept low due to funding from Region 2 Arts Council and donation of cord from Caravan Beads. 
Deadline to sign up is 3/23. 
You can reserve your spot by calling Region 2 Arts Council, but do know that the first 13 PAID registrants are the ones who will get to go to the class. 
I’m encouraging anyone who thinks they will go to call Region 2 right away so we can get moving on booking Marion’s flight. 
Region 2 Phone # is 751-5447 or 800-275-5447
Class will be held and the Beltrami Electric Coop Community Room in Bemidji.  Class will run from 10-5 on Sat and Sun May 5-6. 



Meet Lois Hartwig

Artist’s Statement


While I enjoy other media, fiber has always held a certain fascination.  I’m drawn to fiber, skilled with it, and can pick up a few threads, think about the possibilities, intuitively resolve technical and aesthetic issues, and enjoy the process of experimentation.Inspiration comes from nowhere and everywhere, arousing responses and providing opportunities to explore technique and imagery in a variety of methodologies, sometimes incorporating found objects.

 There is an architectural quality to the knotted constructions and expressions – built to answer questions and satisfy certain curiosities.  Tapestries may be interpretations of my photographs, based on technique or materials that have inspired exploration, vague memories or visions, or an expression founded on my emotional response to visual imagery.  Occasionally I’ll work from a concept or a theme if it resonates sufficiently.









The materials on all three pieces are primarily metallic DMC embroidery floss, brass rings, and beads are included in the Interactive Basket.
The late Diane Itter was my inspiration to explore knotting, along with Joan Michaels Paque and some of the better known contemporary knotters.




Escuela de Macrame – in English y en Espanol

What I like best about Escuela de Macrame is their free tutorials. Once you start looking around, you will find photos and videos demonstrating macrame techniques. Founders of this site are Janina, living in Spain and Karin, living in Costa Rica. 

I have often found solutions to design challenges by looking at tutorials. People also post their work on Escuela de Macrame and some days I just look over the photos that people publish of their macrame work. Currently I’m fascinated by the mandalas.  But if you want to learn to make a fish, a heart, wrap a stone, make a butterfly or a necklace, you will find that and many other ideas as well.  (Be aware that you will need to log into Facebook to see these links.)


Here is a link to a Mandala:








A macrame heart:






A  flower:






A butterfly:








A spiral:






Well, you get the idea!





With the help of Raquel Cruz from Micro-Macrame and Something Else we found out more about the creators of this site.

Janina Pizarro and Karin Sage are the creators of Escuela de Macrame. They met on facebook. According to Janina, “People began to call us teachers …. and we could see we were a good pair with the tutorials so Karin created the Facebook page one day and immediately we came together and we got both uploaded our tutorials.”


Karin is French and has been living with her husband and children in Palma de Mallorca (Balearic Islands, Spain) for 14 years. Karin is a self taught crafter. She learned just by viewing the work of others, making drawings and trying out different knots. She is a hairdresser, and in the summer she is a taxi driver.




Janina Pizarro is from Costa Rica. Janina has photos of her work at: http://es-es.facebook.com/pages/ANiMarte-MAcrAM%C3%A9/116765741673664?sk=photos




Most of the tutorials on the site are from Janina and Karin. However, they will post other tutorials with permission from the owner.


So, check out their site and maybe you will find a tip or technique that helps you solve a design problem.  They have over 4,000 likes on Facebook and growing!



En Espanol –

Uno de los recursos más interesantes que se puede encontrar en linea es la Escuela de Macramé (Macrame School) en Facebook. Si todavía no lo ha visitado aquí está el enlace:


Lo que más llama la atencion de la Escuela de Macramé son sus tutoriales gratuitos. Una vez que uno empieza a mirar en los albumes y enlaces, se pueden encontrar fotos y videos que muestran técnicas de macramé. A menudo he encontrado soluciones a los retos de diseño mirando tutoriales. Los alumnos también publican su trabajo en la Escuela de Macramé y algunos días unos solo  puede visitar la Escuela para ver  las fotos que publican las personas de su trabajo macramé. Actualmente estoy fascinada por los mandalas.

Con la ayuda de Raquel Cruz de


encontramos más información sobre quién está detrás del sitio.

Janina Pizarro y Sage Karin son las creadoras y maestras de la Escuela de Macramé. Se conocieron en Facebook. De acuerdo con Janina: “La gente comenzó a llamarnos maestras …. y pudimos ver que Karin y yo formabamos un buen equipo con los tutoriales. Karin creó la página de Facebook un día y de inmediato empezamos a subir nuestros tutoriales a la pagina.”

Karin es francesa y ha estado viviendo con su esposo e hijos en Palma de Mallorca (Islas Baleares, España) desde hace 14 años. Ademas ella es una artesana autodidacta, aprendió macrame con sólo ver el trabajo de otros, haciendo dibujos y probando diferentes nudos. Tambien es estilista y en el verano  es conductora de taxi ya que vive en una zona turistica, segun nos cuenta ella.

Janina Pizarro es de Costa Rica. Janina tiene fotos de su trabajo en:  http://es-es.facebook.com/pages/ANiMarte-MAcrAM%C3%A9/116765741673664?sk=photos

La mayoría de los tutoriales en la página web provienen Janina y Karin. Sin embargo, publican otros tutoriales con el permiso de los propietarios.

Por lo tanto, eche un vistazo a la Escuela de Macrame y tal vez encuentre un consejo o una técnica que le ayuda a resolver un problema de diseño. Al cierre de esta nota la Escuela contaba con mas de 4,000 “me gusta” y el numero sigue creciendo.


Cavandoli Workshop May 5-6, 2012


Cavandoli Knotting Workshop with Marion Hunziker-Larsen

  • May 5-6, 2012
    Bemidji, Minnesota
    Registration for two day workshop is $80
    Please contact me for registration information  –  soulcandy@macramecollective.com


Cavandoli 2.0 Workshop Description

Cavandoli is a knotting technique in which double half hitches are knotted in a continuous fashion, with no loose thread or spaces between the knots creating a woven-like tapestry. Traditionally two colors are used and patterns are created by alternating horizontal and vertical double half hitches.

Cavandoli 2.0 will take you beyond these limitations. A series of techniques will be explored to work beyond the two color limitation and to provide you with tools for color control.

With the use of wire armatures, vertical, horizontal and reverse double half hitches, we will create modules like textile pieces. Texture and relief will be explored. The pieces we will create will be planned and structured; they will prepare to make free-form pieces.

These modules will become the focus pieces for a beaded opera length infinity neckpiece with no clasp, or a cartouche medallion.

The class project will be available in several color schemes, so you will be able to choose and add your own color variations. Keep in mind that Cavandoli is a slow process with lots of knots per square inch, so the projects will most likely not be finished in class. In the meantime, practice your double half hitches. It will make all the difference!











Marion Hunziker-Larsen got caught in the Macrame Craze of the 70’s when she came to California from Geneva, Switzerland. Right away she scaled her work to finer levels making jewelry and what is called nowadays micro macrame. Her work include fiber techniques such as micro macrame, Cavandoli knotting, cord making, kumihimo braiding, crown knotting, and crochet. She has pioneered many techniques and approaches to jewelry making with fiber techniques. Most of her work is done with fine cords of heirloom quality, such as bonded nylon cord and various silks. In addition, as a color consultant for C-Lon, she has helped making the C-lon Bead Cord collection the most extensive color collection of bonded nylon available.


This workshop is made possible with funding from the

Region 2 Arts Council. http://r2arts.org/about/region-2-arts/


In kind donations from

Caravan Beads http://www.caravanbeads.net/


Macrame Collective




A Brief History of Macrame by Peter the Knotter

Macrame comes from a 13th Century arabic weavers’ word “migramah” meaning “Fringe”  This refers to the decorative fringes on camels  and horses  which help,  amongst other things, to keep the flies off in the hot desert regions of northern Africa…

Another school of thought think that it comes from from Turkish “makrama”: “napkin,” or “towel” and was a way to secure the ends of pieces of weaving by  using the excess thread and yarn along the top and bottom edges of loomed fabrics.  

One of the earliest recorded uses of macrame style knots as decoration appeared in the carvings of the Babylonians and Assyrians. Fringe-like plaiting and braiding adorned the costumes of the time and were captured in their stone statuary.
Macrame traveled from north Africa, with the Moors during their conquests,  to Spain , and as a result of this conquest it spread, firstly to France, and then  throughout Europe.

Macramé became a specialty of Genoa, where, the Italian  roots  of this craft were born in the 16th-century technique of knotting lace known as “Punto a Groppo”.  “Punto a Groppo” is  Italian for “knotted lace”, (also an ancestor of Bobbin Lace-making),  and  was worked in 16th-century Italy by knotting, twisting, and tying fringes,  all without any weights, or bobbins, and entirely by hand. (modern Italian “macrame” lace is made by machine for curtains, Up-market table-cloths etc and resembles the later bobbin lace and Belgian /  Armenian varieties of lace rather than what we commonly perceive as “macrame” )

Patterns were usually geometric, sometimes interrupted with stylized human figures. It is thought that bobbin, or pillow, lace developed when the threads started  to be attached with lead weights and the design anchored on a pad, or pillow.  Macramé work is a modern form of punto a groppo.  In Italy in the 19th century, towels decorated with knotted cords  became very  popular.

Sailors, in the golden age of sail from the 15th to the 19th century,  helped spread the art to other places by using the long months at sea to make macramé objects to sell or barter when stopping at various ports. They even used macramé (calling the craft “square knotting”) to make their own gear, like hammocks, belts, “Ditty” bags, (though most of these were made of canvas), and bell fringes.

Queen Mary also played a part in macrame’s diaspora, in that she popularised it at the English Court, ( as did Queen Charlotte, wife of George III, later on… ), and, as we all know, there is generally no more “dedicated follower of fashion” than a courtier.

Macrame disappeared for a while though occasionally seen in home ornaments and dress. It came back into vogue in Europe again in the 19th century, particularly during Queen Victoria’s reign in England, where it was a hobby for homemakers, and was often included in books of instruction for dutiful wives and daughters for their “edification” and as a tool to embellish their homes. After this brief reappearance, macrame disappeared again until the middle of the next century

In the 1960s macramé became a popular craft and creative art technique in America and in Europe. It was used to create lampshades, plant hangers, bracelets, necklaces, clothes, hammocks, window coverings, and wall hangings.


Macrame reached it’s zenith in the 20th century in the beginning to middle 70’s when “Vogue” Magazine brought out a book on the subject, therefore elevating it to the rank of  “modern-chic” though it also heralded the beginning of the decline of an art which was also considered a sort of  adjunct to the hippie lifestyle.


In the early to middle 70’s there were very few homes in the UK & US that didn’t have either a pot-hanger or a macrame owl somewhere, both of  which started to eclipse the cliche that was the “three flying ducks”  or the painting of a dusky Asian Princess on walls. 


Hundreds of patterns were sold in the form of thin magazine-sized booklets.  (many of which are still for sale on the net),  and it was a hobby for many of the post-war generation of teenagers … and their parents on occasion. The art died out, again,  early on in the eighties…

Macrame  was revived, yet  again, with the nostalgic look-back at the 50’s, 60’s and 70’s that blossomed in fashion and accessories at the turn of the 21st century.


Nowadays Macrame has evolved into, and is rapidly becoming, respected as a valid art form in it’s own right; not only for the sorts of things that were produced in the past, but for new departures in the genre. In a repeat of history, like the end of the 70’s when it was used in haute couture, it has again been used by many large designer houses like Dior, Ferragamo,  Chanel, Alexander, Dior, Dolce & Gabbana etc, indeed, a very famous singer who headlined the pyramid stage at Glastonbury Festival in the UK, wore an all-macrame dress during her set.


This did not go unnoticed, and macrame dresses can be seen on Rodeo Drive, the Boulevard St Michel, Es-Cana market in Ibiza, Cafe Gijon in Madrid’s Paseo Castellana /Gran Via, Shepherds Market In London’s prestigious Mayfair, the Trevi Fountain and other watering holes for the chic and fashionable. Macrame is also becoming more in evidence as a hobby with items made as presents for friends and being sold in online stores.


This is “standard” macrame using some of the old 1970’s style, but usually with improved design and variety of materials.

This form is where fine cords, more usually thick threads,  (which were not universally recognized as appropriate for macrame in the past),  are used to create very precise and well-designed pieces of jewellery, fiber art, baskets and other items.  It must be said that the predominant use of micro-macrame is in jewellery, ie: bracelets, earrings, necklaces, rings, anklets  and the like.  A not too exhaustive look around this site will yield plenty of examples to show the versatility and beauty of this facet of macrame work.



This is another  rapidly spreading type of “macrame” which owes it’s existence to weaving and basket-making, both of which use this technique of using half-hitches to create many different objects. an early exponent of cavandoli work, who has, alas, passed, is Luis Cienfuegos, who made huge wall-hanging tapestries of cavandoli work. The Kenyans, Ghanaians and Navajo Tribe in North America are extremely well-known for their cavandoli-style basketwares.



Yet another facet of macrame’s capacity for diversity and flexibility that is becoming more and more common. There have been exhibitions all over the world of macrame as “pure” Art. There was  Japanese guy who had an exhibition of enormous masks, a lady in England using her macrame in avant-garde sculpture, free-standing abstract sculptures of all sorts abound, imitations of iconic objects like the beefburger and ice-cream sundae, chess sets and candelabra are just some of the choices modern makers are now choosing to produce.