Loom Book was informed by a book titled The Book of Looms by Eric Broudy, which combed through the historical development of weaving looms across different geographical locales, including Egyptian tombs, a ninth century Viking ship in Norway, the Gobelin workshop of Paris and the silk road. Fascinated by the designs of these weaving devices (some as simplistic as two trees) and the profound logic of warp and weft, I made 20 drawings as notes. 4 years later, I found a way to restage the choreography of weaving in book form, inviting the readers' hands to dance as the weaver’s do.
2018年常羽辰在纽约纺织艺术中心驻地学习织布，在那里读了一本叫做 The Book of Looms 的书。这本书梳理了自古埃及以来各个文化与时代各式织机的发展史。早期的织机异常简洁——可以只是一个人和一棵树，但其中已然包含了纵横经纬的深刻逻辑。根据书中的照片和介绍性的文字，常羽辰画下了20个的织机作为笔记，今年初（四年后），常羽辰想到了一个装订方式可以让书本模仿织机的结构，让阅读者的双手也像纺织者那样，在横纵两个方向上既相交又独立地舞蹈。
self-published, signed and numbered edition of 50, 20.3 x 22.9 cm + 12.5 x 27.9 cm, 2022
Loom Book was informed by a book titled The Book of Looms by Eric Broudy, which combed through the historical development of weaving looms across different geographical locales, including Egyptian tombs, a ninth century Viking ship in Norway, the Gobelin workshop of Paris and the silk road. Fascinated by the designs of these weaving devices (some as simplistic as two trees) and the profound logic of warp and weft, I made 20 drawings as notes. 4 years later, I found a way to restage the choreography of weaving in book form, inviting the readers' hands to dance as the weaver’s do.
2018年常羽辰在纽约纺织艺术中心驻地学习织布，在那里读了一本叫做 The Book of Looms 的书。这本书梳理了自古埃及以来各个文化与时代各式织机的发展史。早期的织机异常简洁——可以只是一个人和一棵树，但其中已然包含了纵横经纬的深刻逻辑。根据书中的照片和介绍性的文字，常羽辰画下了20个的织机作为笔记，今年初（四年后），常羽辰想到了一个装订方式可以让书本模仿织机的结构，让阅读者的双手也像纺织者那样，在横纵两个方向上既相交又独立地舞蹈。
self-published, signed and numbered edition of 50, 20.3 x 22.9 cm + 12.5 x 27.9 cm, 2022
