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After joining Ravelry, I found people who were spinning conceptually, making yarn based on an idea or theme, choosing materials accordingly, feeding their intellects and emotions into the yarn – in essence, making yarn their art. As a quilter, I tend to design by combining disparate elements in a patchwork, regardless of the medium. Not only in this exchange of materials, but also in the marketplace and gallery of ideas and beautiful work that is Ravelry, my own spinning was given a swift incubation, quickly growing to become my expressive medium of choice. While spinning, I find that I do not necessarily begin with a conceptual ground, but rather a mood, an ongoing train of thought, or a snatch of aesthetic depth generated by a turn of phrase. The positive feedback in turn provides motivation: I’m given the security that an audience will be there when I post something new. While living in the US, I felt the necessity of being known locally in order to teach or share skills, knowledge and art in any way. Tracy Hudson completed a BA in Comparative Literature at Princeton University, then studied visual art (with an emphasis on fiber) at the School of the Museum of Fine Arts in Boston and the Kansas City Art Institute (her hometown).
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This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.


For the first five years, I spun only on a drop spindle, exploring this ancient tool of daily life. This immediately changed the way I approached yarn, and I began to spin in response to the themes and image cues provided by Cindy Cole in the FF (Fiber Friday) and PC (Picto Create) groups on the site. Through projects, stash, and forum posts, my work becomes directly available to an audience, on my terms.
Those who respond and seek out my work are those who appreciate and are drawn to my methods and aesthetic. A resonance has been established – the pond on which a drop of water ripples out and touches the far shores. Whereas a local gallery or yarn shop garners a distinct, consistent following serving those who have settled into that area, for the world-wanderer this online space draws viewers, fans, and new friends from all corners. Now, with the world wide web, I’m becoming known to the people who really matter—meaning people who are truly interested in me and my work– regardless of our respective locations.
So inspirational, that we are still evolving an ancient craft in the 21st century to express ourselves as artists and skilled craftspeople.
My education and many years living abroad have stimulated and sustained my interest in the cultural, social, and anthropological information contained and documented within textiles–particularly traditional tribal pieces. My desire was not to produce large amounts of yarn, but to understand what it means to work in this way, beginning from the fiber itself and transforming it with hands into yarn and then cloth.  While researching traditional textiles, I use the spindle as a research tool, communicating with indigenous spinners through my spinning skills, which opens up their cache of knowledge and practice.


As soon as I mentioned a lack of materials, fiber started coming from all sides; sometimes as a swap, in exchange for oddments I have access to in Doha, but often as a pure gift from those who share my mentality that good stuff needs to be put to good use.
The photos are mine, and I have styled my yarns in a way that gives them a certain voice, featuring details and catching light. My yarn will be viewed and discussed in Scandinavia and Japan, Vancouver and Brisbane, Holland and Kansas City, my hometown. I particularly enjoy the quality of landscape that yarn can acquire in a macro detail photo. The people who like me and my work find me, and they keep coming back to see what I’m up to.
For someone who believes that art is about opening eyes, there is no greater reward than to hear people say I’ve helped them see something new.



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