CONNIE LIPPERT

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Featured Piece
CONNIE  LIPPERT Ghigau

Ghigau
- Fiber, wedge weave, natural dyes
25 x 24 in
$ 1,000.00


CONNIE  LIPPERT Ghigau
Ghigau
Fiber, wedge weave, natural dyes  
25 x 24 in
$1,000
CONNIE  LIPPERT Ice Palace
Ice Palace
Fiber, wedge weave, natural dyes  
26 x 30 in
$1,400
CONNIE  LIPPERT Refraction
Refraction
Fiber, wedge weave, natural dyes  
25 x 30 in
$1,400
CONNIE  LIPPERT Achadh
Achadh
Fiber, wedge weave  
25 x 26 in
Sold
CONNIE  LIPPERT Prairie
Prairie
Fiber, wedge weave, natural dyes  
25 x 30 in
Sold

CONNIE  LIPPERT

CONNIE LIPPERT

CONNIE LIPPERT Biography

Connie Lippert weaves tapestries using the wedge weave technique and yarns hand-dyed with natural materials.

Her work has been exhibited in 29 states and been accepted into over 150 juried exhibitions. She has received 3 artist grants from the South Carolina Arts Commission. Her work is represented in museum, corporate, academic and private collections and has been published in Fiberarts Design Book 7, Line in Tapestry by Kathe Todd-Hooker, Fiberarts magazine, Handwoven magazine and in Shuttle, Spindle, and Dyepot (the magazine of the Handweavers Guild of America). This year her work is featured in a newly published book, Connie Lippert: A Wedge Weaver’s Storied Cloth by Carole Greene.

She has taught wedge weave workshops and given seminars in California, New York, Michigan, Colorado, New Mexico, Georgia, Florida, New Jersey, South Carolina, North Carolina, Massachusetts and Wisconsin. 

CONNIE LIPPERT Statement

"My tapestries are woven in wedge weave using yarns hand-dyed with natural materials.

Wedge weave is a tapestry weave originated by the Navajo around 1870 and practiced by them for two or three decades.  In contrast to most weaving which is woven horizontally on the loom, wedge weave is woven on the diagonal which gives it its characteristic scalloped edge.  This trait, which I find intriguing, is thought to be one of the reasons the Navajo abandoned it. 

The colors in my palette are created with natural dyes – mainly indigo, madder, goldenrod, cochineal, and black walnut.  As a result, I have become aware of the rich local history of indigo, once considered blue gold in the state of South Carolina, where I live.  My yarns are hand-dyed using indigo leaves from my garden, goldenrod gathered in the fall, black walnut hulls from a friend’s tree, as well as other natural dyes.

My work celebrates nature and the spirit that reveres the natural world.  My message is one of environmental respect and protection."

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