About | nefibercollective

About New England Fiber Collective

'Surface Design’ sounds so industrial. Somehow it doesn’t conjure up the complex relationship between our sensations and our imaginations. The textures, colors, even smells of certain fabrics speak directly to our memories and fantasies. Julie Nussbaum and Stanley Pinckney, the artists of the New England Fiber Collective, use fabric and dyes to capture the images enveloped in this flood of emotions.

Water-based dyes can be manipulated to achieve a painterly image. The canvas becomes an integral part of the texture and depth of the work. The scale and beauty of these works surrounds the viewer. The sacredness of the every day, the spiritual potential of each object consumes and directs these works.

NEFC Mission

The New England Fiber Collective (NEFC) is a non-profit organization that exhibits traditional and contemporary fiber arts. Established in 1982, NEFC provides inspiration, encouragement, and support to individual visual artists who possess related artistic sensibilities, artistic concepts, and art career objectives.

The most prominent of NEFC's activities are its exhibitions. Fully planned, coordinated, and installed by NEFC members, exhibitions are an opportunity to share with the public an unusual body of work by fiber artists. NEFC provides galleries and organizations a rare chance to work with artists whose work and proffessionalism continually meet high standards. Please contact us if you would like more information about joining NEFC.

Yoruba Textile History and Terminology
Resist dye textiles have an extensive history in many areas of continental Africa. Among the various African peoples who continue this resist dye tradition, the Yoruba people of Western Nigeria utilize the broadest spectrum of resist dye techniques, pictorial imagery and symbolism.

A large number of people in Yorubaland are engaged in making aso adire- indigo cloth. Adire making is done in small-scale industries, usually in someone’s household, with all the activities taking place in the courtyard. A significant feature of the Adire industry is the involvement of several artisans in the various stages of production. The household preparing the resist dye technique passes on the textiles to be dyed at the household of the Alaro. This master dyer will be an older woman with as many as nine women apprenticing in the busiest studios.

There are several traditional types of Adire cloth. N.E.F.C. uses the Yoruba terminology in referring to the processes used to achieve our decidedly nontraditional textiles.

Sabada - A cloth is pleated and folded according to a specific design. This is thought to be the oldest form of Adire cloth.

Elesun - A variation of Sabada, but using woodblocks and clamps as the resist.

Eleso - ‘that which contains fruit.’ Variously sized seed kernels are placed under the cloth and are pinched up and tied off with raffia or string.

Elo - ‘rolling up.’ The fabric is rolled up from end to end and tied tightly at intervals using rafia or string.

Elelo - ‘to coil up.’ The cloth is gathered up and wrapped securely with raffia or string.

Alabere - ‘that which is sewn.’ A sturdy thread is used for a running stitch or an overcast stitch. The threads are pulled up tight and tied.

Eleko - Starch paste or wax resist. The starch paste is applied through metal stencils or freehand. Wax is melted and applied with woodblocks or freehand.