My love of weaving grew from my wicker furniture restoration background which began in 1990 to 2000 in Berkeley California. Instantaneously my passion for craft and design was ignited!
The restoration of antique and contemporary wicker furniture ran the gamut from simple cane wrap replacements on the legs of chairs to full reweaves of chairs, tables, and planters etc. The blending of old to new finishes also became an important part of the restoration work. It was during the early 1990’s that I began teaching basketry as well.
A move to the Pacific Northwest in spring of 2000 provided the opportunity to start making woven home furnishings from the ground up using my own designs. My work today is the culmination of 27 years ranging from woven restoration work, custom woven garment accents for a NYC fashion designer during Fashion Week Spring 2007, work with interior designers and my own basket work.
This is a link to an article written about my basketry work for Craft Month March 20th 2019
I spent the first two decades of my career learning and refining restoration techniques of antique and contemporary wicker furniture. In 2011, at age 43, a cathartic personal discovery about my birth and heritage threw open a door to creativity and set my work on a new and unexpected course. This experience provided the catalyst I needed to start creating my own designs for the baskets I make. I am inspired by techniques from antique wicker furniture, passementerie and anything exceptionally made and beautiful finished. Repeating patterns intentional and unintentional always catch my eye for a second look.
My basketry projects combine a variety of weaving techniques including twining, plaiting and lashing. I now prefer to create large works, moving beyond previously held notions of scale and proportion. Fine detail is achieved by using small-diameter round reed in the beginning stages of weaving which eventually transitions to larger reed. The combination of bold scale and fine detail are, to me, simply sublime. When plaiting with flat reed, I discovered additional interest by using multiple layers - juxtaposing interior and exterior colors that draw the observer deeper into the work. Cellulose fiber dyes are hand-blended creating either natural hues or vibrant colors. Finishing steps include a UV archival varnish and a hand-buffed wax finish.
From weaving techniques using a variety of materials to replicating complex finishes using paints, stains and dyes, my skills are continuously expanding. Reed, the primary material used in antique woven furniture, is the material I have chosen to use in all my projects. Derived from the vine rattan palm, it has been a workhorse in the production of handwoven wicker furniture since the 1880’s which ushered in America’s Golden Age of wicker furniture production. The versatility and resilience of this amazing material gives each new project infinite possibilities.
I feel that my current work captures and showcases all of my skills with reference to design and technique. I will continue to evolve as a craftswoman, seeking excellence in my work and within myself.
Peeta Tinay grew up in the San Francisco Bay Area. She was born into a family of creatives: her father a chemist by day and a jeweler by night, her mother a painter and weaver. Art work from both parents and their friends filled the house throughout her childhood. Her grandfather was an inventor, keeping a fully functional foundry and pattern shop behind the family home. Roaming through his old work buildings was always an adventure. This early creative environment was fertile ground through which she came of age and discovered her life’s work.
From 1990 to 2000 at The Caning Shop in Berkeley California she was introduced to techniques involved in the restoration of wicker furniture. In 2000 a move to Washington gave a fresh start motivating her to branch out. She continued restoring and also started making wicker pieces from the ground up using 1920's wicker as inspiration.