How could we ever imagine that surface design is separate from weaving? Unlike the painter¹s canvas that supports the image without affecting its appearance, the woven cloth dipped in dye directly affects the color quality. Surface design applied to threads prior to weaving becomes integral to the fabric. Further, the structure created through the process of weaving has its own surface character. And processes like devoré are only possible because of variations in the character of threads woven into cloth. Yet, rarely do we focus on weaving itself as an aspect of surface design.

So deeply is the notion of weaving engrained in the human psyche that its significance reaches far beyond the production of cloth. One need not be familiar with the workings of a loom to intuit the archetypal implication of horizontal weft threads interlaced with vertical warps. Poetry from around the world is replete with metaphorical references to constructing fabric. I was reminded of this when I recently heard Barry Scheinkopf reading his poem, "A Roof of Birds." [see below]

To address the theme, "Woven Surfaces," we chose a wide-angle editorial lens to survey weaving and surface design since the 1970s and also focus on very timely developments. Thus, we invited Virginia Davis, an eminent weaver and a longtime SDA member, to track the recent history of the disciplines¹ intersections. And we also solicited Margo Mensing¹s thoughts on a cutting edge jacquard exhibition.

Ever-expanding technological innovation keeps bringing new types of fiber and woven products into existence. A sampling of this can be found in Lois Lunin¹s interview with Suzanne Tick. Still, artists continue to explore new approaches to ancient weaving methods. For example, Ruth Bright Mordy¹s substitution of fabric strips for threads pushes tablet weaving in a fresh and expressive textural direction.

Those who recall the struggles to stretch yet retain a definition of "tapestry" during three decades of Lausanne Biennials may detect a "dejá vu" flavor in Joan Schulze¹s report on a major exhibition in China. Or, it might be seen as affirmation of the timeless imperative of weft crossing warp.

Finally, we note with regret that this is the last issue to be produced under the art direction of Lauren Horwitz. Two years ago, Horwitz¹s redesign of the Journal brought it visually into the 21st century. The new design will remain with us as Horwitz leaves to pursue projects in industrial design, a field in which she just received a Master¹s degree. As we wish her well, we welcome Dale Moyer as new art director.