PRESS


3 Hookers Go 3D

Open a Whole New World Of Rug Hooking

Rug Hooking Magazine

Vol. XXVIII, Number 2, September/ October 2016

By Tamara Pavich


Lois Morris, Page 40-41

This article covers 3 different projects:

- Suzanne Cantrell’s My Totem tells its story standing tall.

- Bringing nature inside, Lois Morris’s Shaggy Bark River Birch protrudes from her wall, offering a treat for a downy woodpecker.

- Diane Louise Cox’s Flower Lady rises from her flower pot and blooms in many directions.


Picture published here with permission from the editor, Debra Smith.




New Spin On Fabric

A Gallery of Textile Inspired Rugs

Rug Hooking Magazine

Vol. XXVII, Number 3, November / December 2015

By Tamara Pavich


Inspired by Quilts. Lois Morris, Page 20


Picture published here with permission from the editor, Debra Smith.

  


Dream, Design, Dye and Do

The Four Ds of Rug Hooking with Lois Morris

Rug Hooking Magazine

Vol. XXVI – Number 4, January-February 2015.

 By Tamara Pavich

" Over her 54 years of hooking, Lois has never backed away from any challenge. After working with charcoal, pastels, and oils as a young artist, one day she helped a friend earn a Women’s Institute credit. In 1961, this friend taught Lois to hook rugs, and Lois began to focus her considerable artistic talent and energy on the medium of wool. During the intervening decades, she mastered and taught every kind of rug hooking I can imagine—and many that I still would not have thought of if she hadn’t invented them.


Lois has designed landscapes, pictorials, geometrics, and florals. Through her rug designs, she has explored cultures across the world. She has hooked classic masterworks and modern abstracts. She has carved and sculpted. She has hooked monochromatic rugs and achromatic rugs. She has hooked a whole garden inside a single butterfly. She has, in my opinion, improved on a Claude Monet portrait. There is nothing she won’t try. She admonishes her students: “Never say I can’t do that, or I can’t use that, or I can’t go there. Be free with your thoughts and ideas.” That’s the Lois Morris way."

The above is the abstract of the article Dream, Design, Dye and Do by Tamara Pavich, pages 70-79, published in Rug Hooking Magazine –vol. XXVI – Number 4, January-February 2015. Text and images reproduced here with permission from the editor, Debra Smith. 



The Blue Period

Expanding Creativity Trough Monochromatic Rugs

Rug Hooking Magazine

Vol. XXVI – Number 3, November-December 2014.

By Tamara Pavich

 

The True Mono-Chroma Scheme 

Using the strictest definition of the term, monochromatic art uses a single chroma - one blue, not a variety of blues, with many values of that one hue. Adding white to the hue is called tinting. Adding black is called shading. But only black, white and a single color may be used in a true monochromatic scheme.


Sarah

Dyeing wool in many shades of a single color is one of Lois Morris's favorite parts of rug hooking. Lois, who has taught and lectured in Quebec for many years, dyed 45 different shades of a single blue for her portrait of her granddaughter, Sarah, a dancer. Using a #2 cut, Lois shaded this image exquisitely.


"There are many shades of any color", she said, "and by dyeing many shades of one hue and even another close hue, you get an infinite number of values and limitless amounts of contrast."

 

Here the balanced composition and the monochromatic treatment give the impression of a dancer immersed in the immediate experience of her art.

 

Sarah

15" x 29", #2 cut wool on rug warp. Adapted from a photograph by Ed Flories and hooked by Lois Morris, Rawdon, Quebec, 2000.

 

Lois dyed blue swatches in 45 different values to achieve the effect she wanted in this true monochrome. Although she considers this portrait of her granddaughter her "most satisfying project yet" while working on it she felt pressured to get it just right, "A lot of people know Sarah," Lois said, "so it was important to me that everyone knew instantly who it was. I gave it to her as a birthday present. When she opened it, she looked at it for a moment of silence, and then screamed, 'Oh my God, it's me! I love it.' "


 

The above is an extract from an article on The Blue Period. Expanding creativity through monochromatic rugs by Tamara Pavich. pages 12-19 , published in Rug Hooking Magazine –vol. XXVI – Number 3, November-December 2014. Reprinted here with permission from the editor, Debra Smith. 

 





Learning From The Masters

Fine-Art Inspiration For Rug Hookers

Rug Hooking Magazine

Vol. XXVI – Number 2, September-October 2014.

By Tamara Pavich

 

Lois Morris

Lois Morris, resident teacher of the Beaconsfield Rug Hooking Crafters Guild, has taught classes on portraits, monochromatics and dyeing, and she published a comprehensive article on hooking portraits in 1979. “I was looking for another portrait that appealed to me,” Lois said, “a face that had some character to use as a teaching tool. I took Claude Monet’s ‘Poly’ from an art book. When my students choose to hook something fine-art inspired, they will learn some new hooking technique they must achieve to capture the look,” Lois said. “And they gain a new way of looking at fine art in general.  Then later, they try something original, and I hope they have expanded their confidence in their abilities. Eventually, they will develop a style of their own.”


Lois rarely hooks with anything wider than a #4 cut, and #3 is her favorite. The cut makes it possible to include minute details in a small rug. Though this rug is not strictly monochromatic, it allowed Lois to engage in one of her favorite challenges: dyeing many shades of a single color. For Poly, she used many shades of flesh tones and blues. The flesh tones were made by mixing blue with its complement, orange.

 

Poly, 13” x 14”, #3 and 4-cut wool on linen. Adapted from a portrait by Claude Monet, 1886; designed and hooked by Lois Morris, Rawdon, Quebec, 2000.



The above is an extract from an article on Teachers of Rug Hooking entitled Learning from the Masters pages 8-17, published in Rug Hooking Magazine –vol. XXVI – Number 2, September-October 2014. Reprinted here with permission from the editor, Debra Smith.


 

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