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Who is Toultouline?

Toultouline is my name. Have been creating all my life, mostly as a weaver. This is my new web.

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The warp, well stretched and a little salty, is the island of Chios in Greece, my home. The weft is anything that catches my eye, colours, textures, in my living and creating adventures, seen “as for the first time”.

The language is English, Greek style.

The plan is to report to you at least once a week.

So:  “… Throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.”   Mark Twain

••• In weaving, we have a warp, a set of stretched parallel threads, into which we weave the weft.

Robert Preyer, German painter, and Chios island, Greece

It must have been in 2002 when Gerti Preyer told me, a newcomer, that they, her husband and herself, had already been in our small village for about 18 years, the last 10 living full time there. Her husband was Robert Preyer, a German painter. He was born in 1930 in Brussels, Belgium, and moved to Germany in 1944 where, later on, he studied art. During his life, he taught painting and had many exhibitions of his work. In the years 1968-88, he was a professor at the Fachhochschule Wiesbaden.

Robert Preyer - the way I remember him
Robert Preyer – the way I remember him

 

Robert Preyer - younger
Robert Preyer – younger

He started with lithography, then he developed his painting. The landscape, the light and the colours of Greece were decisive for his work. Robert Preyer: “In this illuminated country, my painting could quickly take root. Rather as the result of colours, the liquid and solid matter of the Greek landscape resembles my idea of materializing the colouristic appearance on the canvas. But the natural effect of the images arises from the energy of the colours when they form and grow together.”

Robert Preyer
Robert Preyer

 

Robert Preyer
Robert Preyer

During the time he lived full time on Chios and then when he spent the winters in Germany and the rest of the year in Greece, Robert kept his ties with the art world in Germany where he often had exhibitions of his work.

Robert Preyer 2013
Robert Preyer 2013
Robert Preyer- Bei den pflanzen, 2012
Robert Preyer – Bei den pflanzen, 2012

Gerti was spending more time than Robert socializing with the people in the village and also feeding the stray cats. Robert, a very kind and quiet man, when not visiting different places on the island and enjoying the sea, was working in his studio, completely absorbed by his art making. He kept painting until the end.

Robert Preyer and Helga Fohl (Torsi) 2015
Robert Preyer and Helga Fohl (Torsi), exhibition 2015

In the early autumn of 2014, he spent some time in the hospital on Chios, then in Germany, where in December he passed away in Rettert im Taunus. Gerti continued returning to Chios every spring and leaving in the autumn until her death in February 2017.

Robert Preyer 2014
Robert Preyer 2014
Robert Preyer 2009
Robert Preyer 2009

Both Robert and Gerti Preyer were very much liked by everyone in the village. Their house, at the edge of the village with a nice open view, was renovated with love by them. Today, the people who live there have no connection with the Preyer family. They also have no idea of the artist’s struggle to find inspiration, to express it through his medium, to be creative. I’m not even sure they care…

The Preyer house
The Preyer house
View from the Preyer house
View from the Preyer house

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Ruins in my village, Chios island, Greece

The weather is still very good in my part of the world, southern Chios island, Greece. It is sunny and quite warm, perfect for spending time outside. And that’s exactly what I did this morning, I spent some time walking around in my village and looking at the ruins.

Ruin, Chios island, Greece

By studying the half demolished old houses I can see the work of the old craftsmen who built them by cutting each stone by hand, carrying it to the building site, assembling the stones to form a wall, then doors, windows, steps, floors, ceilings, etc. I can see the building techniques used so that the walls could support at least one extra floor. I can also see that different stones were used for the doors and windows, big slabs of stone for the floors and steps. The hand of the craftsman is present on every stone. Often, we can see some additions and repairs done on the original building at a later time.

Older people in my village have told me that everyone was working in the building of a new house. After all, just to give the right shape to every stone used and to carry all the very heavy building material to the building site, a lot of people and animals were needed.

Many of the ruins belong to people who do not live in Greece anymore or have moved to Athens. Their parents and grandparents left the village many years ago. Often, a house is owned by many people who do not even know each other, they are just coming from the same family a few generations back. In one case, the space of the ruin has been taken over by the neighbours to create a green spot in the middle of our stone village.

A green spot being created
A garden in a ruin.

After studying the “raw” stone walls of the ruins, my walls have another meaning. I can picture the craftsmen around 1740 trying to cut by hand and fit the stones together to build my house. How many were they? Where did the stone come from? How long did it take to build the house? Who was the owner? Did he have a big family? Did they live happily in this house?

Big and heavy stones form the door frames.

Weaving in Kerasochori, Evrytania, Greece

Kerasochori is a small village in the Evrytania province of central Greece. In the 1970s the area was “forgotten” by the Greek state. There were no roads, communication between the inhabitants of the beautiful villages was difficult. Life was not easy, there were no jobs, and people, especially the younger ones, were abandoning their villages for the big cities.

Woven in Kerasochori, Evrytania, Greece, 1978-79
Greek bag, woven in Kerasochori, Evrytania, Greece, 1978-79

The Swiss organization “La Terre des Hommes” decided to help by creating a weaving school in Kerasochori, providing education and a home for young girls coming from poor families of the area. The organization worked with the Greek Handicraft Organization, the Church of Greece, who donated the buildings, and in 1974 the school was founded. The goal was to teach a traditional craft to young girls who could, then, be able to create a job for themselves, maybe without leaving their villages.

Woven in Kerasochori, Evrytania, Greece, 1978-79
Woven in Kerasochori, Evrytania, Greece, 1978-79
Greek bag, woven in Kerasochori, Greece
Greek bag, woven in Kerasochori, Evrytania, Greece, 1978-79

The girls, 13 to 15 years old, attended the school for two years. They learned how to weave using traditional techniques and designs. Some even created their own designs inspired by tradition. They used the material available in their mountain villages, wool from their sheep, in natural white, gray, brown, black, or dyed in different colours. The warp was cotton.

Woven in Kerasochori, Evrytania, Greece, 1978-79
Woven in Kerasochori, Evrytania, Greece, 1978-79

Most of the weavings were sold in Athens, placemats, Greek bags, cushion covers, wall hangings, rugs of all sizes in many colours and designs. The photos here are of small pieces. All of the bigger rugs I have are in storage right now. If / when I will have the chance to make photos, I will post them here.

The school has closed down, since long time ago.

Woven in Kerasochori, Greece, 1978-79
Woven in Kerasochori, Greece, 1978-79
Woven in Kerasochori, Greece, 1978-79
Woven in Kerasochori, Greece, 1978-79

 

The mastic gum of Chios, Greece

Living in one of the 24 mastic gum (mastiha) producing villages of Southern Chios, I have been exposed to the cultivation of mastiha since I first came here. Almost everyone in my village is involved in the production of this magical resin, valuable for many uses: for medicines, cosmetics, art paints and varnishes, sweets, etc.

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Mastic trees

It was always cultivated on the island but started becoming known in the 10th century by travellers visiting Chios. The trade became more organized in the 14th century.

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The mastic tree/bush (skinos, Pistacia Lentiscus var. Chia) grows all over Chios, also all over the Mediterranean area, but only produces mastic gum in the southern part of Chios. It is one of the strongest plants, it can live without water, in bad soil, and lasts for many years. The mastiha production is worthwhile from about the 5th year of the life of the plant and reaches its best at around the 15th year. It can live up to 100 years. A mature tree produces about 200 grams per year.

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White soil under mastic trees

The cultivation of mastiha starts around May-June and ends in September-October, depending on the weather. First, they prepare and clean the area under each tree, then spread a white soil on that area so that the drops (the tears) of resin falling are kept clean. Next, with a special sharp and pointed tool, they “wound” the tree by making incisions on the trunk and the branches (see the beautiful film at the end of this post).

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Photo at the Chios Mastic Museum

After the mastiha has fallen on the ground, and become hard, it is collected very early in the morning, while it is still cool and the resin remains hard. Then they “bring it in”, to the village, where they continue with the “cleaning” of it. This involves sifting it through different sizes of sieves to clean it from the soil and leaves.

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Sieves at the Chios Mastic Museum
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Old photo at the Chios Mastic Museum, 1930-1950
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Photo at the Chios Mastic Museum

Next comes the washing. Some people who live near the sea still go there to wash their mastiha.

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Washing mastic gum in the sea, Southern Chios (2016)
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Sifted and washed mastiha

The final cleaning is done by the women. They usually gather around a round tray (sini), now a round table but still called sini. They clean the resin drops, one by one, by removing any impurities using a needle, work that demands strong eyes and a lot of patience. This takes a few months, depending on the quantity of the harvest. When they finish they take it to the Chios Gum Mastic Growers Association for the final processing.

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Cleaning mastiha, at the Chios Mastic Museum
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Cleaning mastiha (2017)
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Cleaning mastiha

A few days ago I visited the new Chios Mastic Museum, a very modern building housing a very old trade. It is located in the middle of the mastic producing villages and is surrounded by mastic trees where one can follow their cultivation, an open-air museum exhibition.

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Chios Mastic Museum
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Chios Mastic Museum

“The aim of the Chios Mastic Museum is to highlight the production history of the cultivation and processing of mastic, also incorporating it to the cultural landscape of Chios. Through the inclusion of traditional mastic cultivation in the Representative List of Intangible Cultural Heritage of Humanity by UNESCO in 2014, the emphasis is on the timelessness and the sustainability of the product of Chios”   {Copied from the Museum’s brochure}

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Old distiller for the production of mastic oil, Chios Mastic Museum
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Old “machinery” for the final processing of mastic gum. Chios Mastic Museum

I am definitely going back. Although mastiha production is part of my fellow villagers lives, there is a lot to see in that museum, details from the past and from the other villages, in a very organized and pleasant way. It made me see that not much has changed since the 19th-20th centuries. Also, there is a nice cafe with views over many mastic trees and the sea far away. Coffee was served with a cookie filled with mastiha cream. There is also a lot of modern art on the walls of some parts of the museum which connects the past with the present.

“The tree we hurt” 1986 ,  English subtitles

This film shows how the mediaeval fortress type villages of Southern Chios, where the mastiha producers lived for centuries (and still do), were around 1985. Not much has changed, they are only better preserved (see my blog post “Start where you are”). In this film you can also see the landscape of Chios, mastic trees, cultivaton, and follow a sweet story with beautiful music.

 

 

Tapestry weaving in Provence, France

Since I am still talking about the past, I decided to move outside of Greece, this time, and go ‘back’ to Provence, France.  In the summer of 1980 I went to Venasque, a small village in Provence, France, to study tapestry weaving with a professional ‘licier’ (tapestry weaver). Daniel Drouin had studied at the ‘Manufactures Nationales des Gobelins’ in Paris and then worked there for quite a few years.

Daniel Drouin,1980  toultouline,com
Daniel Drouin winding bobbins, 1980 (Photo from the internet, unknown source)

In the 1970s he set up his own studio and home in Venasque, where he designed and wove his own tapestries. In the summer he run residential courses, assisted by his wife Denise.

Tapestry weaving, 1980, France, toultouline.com
Weaving my tapestry from the back, the traditional Gobelin way
Tapestry weaving, 1980
More has been woven. Photographed from the front, woven from the back

We were six students from France, Finland, USA, and Greece. We wove, on the upright very sturdy Gobelin looms, the designs we chose from the ones that Daniel had prepared for us. I did not think that the one I chose was the most beautiful. As I had already been weaving for a few years and had tried my hand in tapestry, I could see that it included many techniques that I wanted to learn. We wove every day for six hours, the week-ends were free for excursions in the area.

Daniel Drouin
Tapestries by Daniel Drouin in an exhibition setting (photo from the internet, unknown source)

There was an exhibition space of the recent tapestries, for visitors who passed by. But the house was full of Daniel’s work of previous years. Even our six bedrooms had at least one tapestry on the wall, some had more. All were quite large, as most tapestries were at that time.

Daniel Drouin tapestry, toultouline.com
Tapestry in one of the bedrooms.
Daniel Drouin tapestry, toultouline.com
Tapestry in a bedroom. This must have been one of his older tapestries. It was different from the others, also very large.

After just a few years, Daniel Drouin stopped teaching and concentrated on his own work. I consider myself lucky that I had the chance to study with him. Not only for the weaving techniques, or the beautiful environment, but for giving me the chance, by following him, to see how an artist works and develops his ideas over the years.

Daniel Drouin, tapestry weaver
Daniel Drouin weaving. (photo from the internet, unknown source)
Daniel Drouin tapestry
Tapestry by Daniel Drouin (photo from the internet, unknown source)

A short and quite recent video of Daniel Drouin. He weaves from the back but he can see the front side of the tapestry in the mirror, through the warp threads:

 

 

Spinning in Arachova, Greece

While we were busy dyeing yarn in Arachova, in 1987 (see previous blog post about natural dyeing), Frosso Haritou’s mother was sitting with us. She needed the company.

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Like all women of her generation, she was never idle, her hands were always busy. Most days she was spinning, using her drop spindle, the traditional Greek way. The yarn she made was used by her daughter Frosso for her weaving.

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toultouline.comThis older woman had a smiling face that I still remember.

 

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Natural dyeing in Arachova, Greece

Dyeing material
Dyeing material

Arachova, a small town on the southern slopes of Parnassos mountain, is known today as a skiing resort. But in 1987 when a small group of weavers from Scotland, Finland, Zimbabwe and Greece headed north (from Athens) it was to learn how to naturally dye yarn the way Frosso Haritou had been doing all her life.

Weighing the yarn
Weighing the yarn
Undyed yarn in dye bath
Undyed yarn in dye bath

In Arachova, there were still a few traditional rug weavers and Frosso was one of them. She was dyeing all the wool she was weaving with, using plants from the area, except for the blues and reds which were dyed with chemical dyes.

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When we arrived, all the plant material was already collected by Frosso, so after preparing the skeins of wool we started the dyeing procedure. We used walnut, broom, pomegranate, inula, onion skins, flowering ash and eucalyptus.

Washing the dyed yarn
Washing the dyed yarn

During the five days we stayed in Arachova we managed to dye a lot of yarn, to take with us and for Frosso to use in her weaving rugs for her shop. It was quite an experience because I had never participated in dyeing such big quantities of wool. My needs for coloured yarn were always more modest.

Rugs woven by Frosso
Rugs woven by Frosso

While we were dyeing the yarn, Frosso’s mother was sitting with us. She was not weaving anymore but she was still spinning. See the next blog post in a few days.

Frosso's mother cleaning vegetables
Frosso’s mother preparing vegetables (courgette flowers) for a meal

 

Vienoula of Mykonos – Part 2

In the 1960s and 1970s, in many parts of the world, we were discovering, some rediscovering, our roots. There was an explosion of everything related to tradition, music, crafts, interpreted in a more contemporary and personal way. In Greece, at that time, traditional crafts were still practiced, as we saw in the previous blog posts about weaver Vienoula Kousathana, Mykonos, and basket maker ‘Selinos’, Tinos . The thread was not broken.

A woven item that was carried by local people but mostly by tourists visiting Greece was the “tagari”, a hand woven (some times machine woven) bag. Many weaving books of that time were referring to this type of bag as the “Greek bag”.

'Tagari' bag, Vienoula Kousathana, early 1970s
‘Tagari’ bag, Vienoula Kousathana, early 1970s

In Vienoula’s shop the variety of colours was so wide that it was impossible to choose just one tagari. The only solution was to buy several. And that is exactly what I had done, I just discovered two of those. The rest is lost, as expected after all these years.

 

 

Basket weaving on Tinos island, Greece

In the summer of 1979 my parents were on vacation on the island of Tinos. I visited them and we all drove around exploring the island. My parents were known for always trying to see every corner of the places they were visiting.

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One day, just outside the village Agapi (‘agapi’ means ‘love’ in Greek) we looked down at a ravine and saw a man sitting near the water. We approached him and found out that he was weaving baskets. It was shady and cool down there and we spent some time with him, following his way of working.

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After stripping thin branches of their outer layer, he was soaking them in water to keep them supple and easier to use in his “over-one-under-one” work.

We bought some of his baskets, including the one he was working on, and then he invited us to his house to drink some of his wine. The wine was excellent!

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As it often happens in small places, where people are better known by their nicknames than by their real ones, we were told that his name was ‘Selinos’. Was it from the word ‘selino’ (celery) or ‘selini’ (moon)? We never found out. But we did find out that he was known not only for the baskets he was making but also for enjoying drinking a lot of wine…

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Weaver Eri Avgoustidou in Mesta, Chios

Every year, in spring, a weaver from Athens comes to the village of Mesta, Chios island, where she stays for almost six months. Mesta is the best preserved mediaeval village on Chios, a destination for almost everyone visiting the island. (More about Mesta another time).

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Eri Avgoustidou first visited Mesta over 25 years ago and instantly fell in love with it. After all, there was a lot of Chios in her blood, her grandmother came from Kambos and her husband’s family from Mesta. She made a plan to learn how to weave and return to the village to buy a house and start a business. And so she did. She is the owner of the “Agnytha” shop.

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During the winter, in Athens, she weaves in her studio, inspired by the Greek tradition. She also teaches a group of over twenty weavers who come to learn from her, year after year, at the cultural centre of the Municipality of Moschato-Tavros.

 

Eri is one of those people who enjoy what they do and this is one of the reasons why she has become one of our best quality weavers (ask me) and teachers (ask her many students who love her).

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A few years ago she wove the silk fabric for her daughter-in-law’s wedding dress. It was beautifully woven and the dress was gracefully moving while the couple was dancing at the wedding party. Let’s hope that she will weave fabric for her four grandchildren’s weddings. They will be lucky if she will.