NORFOLK — On Thursday, Feb. 1 a small group gathered in the Great Hall of The Norfolk Library to attend a workshop led by Eileen Fitzgibbons and Bina Thomson.
The group gathered in a semi-circle in front of a cozy fire, the hearth bearing the library’s Latin motto “Inter Folia-Fructus” which translates to “fruit amongst the leaves” referring to the pleasure from knowledge that can be found in books. Topping the mantle, the owl of wisdom looked down upon the group.
Fitzgibbons and Thomson spoke about Imbolc, an Irish holiday with deep pagan roots that marks the first day of spring and celebrates St. Brigid’s Day, the patron saint of Ireland as well as the moment between the Winter Solstice and Spring Equinox.
“In Ireland there’s a national holiday dedicated to Brigid. In many ways, she represents all women, and recognizes the equality of the feminine and masculine in society. While too early to plant, it was a time to start thinking of what you wanted and needed to plant and harvest. It celebrates a time to reaffirm life and is a commitment to rejuvenation. ” Fitzgibbons said.
Brigid was the Celtic fire and fertility goddess. Elements such as water symbolize healing, while fire represents alchemy. Christianity adopted Brigid as the patron saint of Irish nuns, newborns, midwives, dairy maids, and cattle, while smiths, poets, artists, and others who create stories are also celebrated.
“St. Brigid and the goddess are very similar. She’s a mother earth figure,” Fitzgibbons said.
She also explained to the group how the Celts made dolls from oat or wheat, which young girls would offer door to door as gifts.
“People took quiet walks, lit bonfires and celebrated with feasts. Fires symbolized the returning light; candles symbolized the growing sun,” she said.
In addition, traditional baked goods, winter vegetables, butter, cheese, and lamb were typically on offer. In this spirit, Fitzgibbons laid out her own delicious, home baked Irish Soda bread and a selection of tasty cheeses for the group to enjoy.
Attendees were invited to share poems and stories about how they celebrate this point of the year when spring is on the horizon.
Fitzgibbons also demonstrated how jars of honey, candles, yarrow, spruce, basil, and laurel and other elements such as antlers can be used to create an altar. And attendees were given brown paper bags to gather these elements and encouraged to create their own altars at home.
“Altars can be made in any corner in the house, on a window sill or a tabletop. They are created to be a place for beauty, intentions or meditations,” Fitzgibbons said.
Feeling satiated and informed, the group left enlightened, anticipating spring and brighter days ahead.
Eileen Fitzgibbons shared her knowledge of Imbolc on Feb. 1.Mike Cobb
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That sense of shared purpose is at the heart of the invitation Gast extended to artists Natalie Baxter and Janis Stemmermann to process a bumper crop of Japanese indigo (Persicaria tinctoria) at her studio this fall. All three artists’ practices intersect through material, process and an interest in the handmade. Gast and Stemmermann have collaborated on a series of hand-knit vests dyed with black walnut, available through Stemmermann’s store, Russell Janis. Baxter is a Wassaic Project residency and fellowship alum, who is leading a community quilting workshop there on Nov. 15. She also co-directs “Cottage Courses” with artist Polly Shindler, a series of hands-on artmaking workshops throughout the region.
“Lisa Dachinger of Hilltop Farm & Fiber Arts north of Pittsfield, Massachusetts had an abundance of indigo this year,” said Gast of her learning about the crop’s availability.In two trips to the farm, Gast harvested the plants and began experimenting with the ancient art and science of extracting pigment from the plants and transforming it into rich, layered blues.
Artists Christy Gast, left, and Natalie Baxter in Gast's studioPhoto by Natalia Zukerman
“There are a lot of steps,” Gast noted with a laugh, as vats of aerated indigo bubbled in the corner of the studio. The process is slow and physical, dependent on timing, temperature and a kind of faith in chemistry. The freshly harvested Japanese indigo leaves are first soaked in warm water and left to ferment for several days. The plant matter is then removed, the solution is strained and the pH is raised with the addition of calcium hydroxide, and then the mixture is aerated, poured back and forth between containers until it oxidizes and the pigment turns dark blue. After the indigo settles to the bottom, the resulting paste is filtered, dried and ground into powder. Only then is it ready for dyeing.
But as Stemmermann pointed out, “It’s not a dye. It’s a coating and reaction.” Indigo’s elusive chemistry means each piece is unpredictable, shaped as much by chance as by control. To achieve a deep, saturated blue, “you have to layer it and dip it up to eight times,” she explained.
Each artist uses dye in their work, albeit quite differently, yet all share a deep sensitivity to material and process. “There is a seasonality to textile work,” said Baxter, referring to dye plants.“First, there’s the planting. And then you wait for them to grow, you harvest them, you dye the fabric and then it’s wintertime.” During quilt season when our attention turns inward, the patient, hands-on process becomes a meditation on slowness for Baxter, mirroring the rhythm of the earth and a quiet longing to move with it.
Processing Japanese indigoPhoto by Natalie Baxter
For Gast, working with plant dyes is a way to align artistic practice with ecology and activism. “I’m working on a project that will be showing at Mass MoCA in 2027,” she explained. “It’s a collaborative opera about peatlands for which I’m producing a textile installation that functions as the curtains. I’m using as many natural and regional processes as possible because our work has to do with local-to-global activism and conservation. There is a chemical alchemy in peatlands, which despite covering just 3% of the Earth’s surface, capture more than twice the carbon of all the planet’s forests combined. There’s a direct poetic alignment between plant dye processes and peatlands, which preserved some of the earliest textiles we know of. And the color palette is ancient, both familiar and uncanny.”
There’s a certain chaos in balancing experimentation with intent. For Gast, Baxter, and Stemmermann, this first attempt at pigment extraction has been as much about curiosity as outcome, a communal act of making, rooted in patience, experimentation and discovery.
To find out more about these artists, visit: christygast.com, nataliebaxter.com and janisstemmermann.com
