Stitched Glass at the Toronto Knitters Guild

Stitched Glass at the Toronto Knitters Guild

On Wednesday, May 16, I had the pleasure of talking to the Toronto Knitters Guild at the University of Toronto’s Innis Town Hall about my installation of knitted tapestries, Stitched Glass.

Kirk At Podium.png

The last time I did a talk to the Knitters Guild about the installation, I think only the first Stitched Glass tapestry was complete. So that was a while ago.


Knitters Guild President Carol Mather Miles was kind enough to introduce me. 

Kirk and Carol.jpg

Other than talking about Stitched Glass and the play we’ll be touring with the installation, The Knitting Pilgrim, there were three things I really enjoyed about the evening.

Kirk Chatting with Guild Members.png

One – it was so great to be amongst so many knitters, everyone steadfastly knitting their projects, chatting about knitting (one of my favourite things, of course) and solving each other’s pattern or stitch problems. It made me realize how much I’ve knitted alone these past few years – okay, past lots of years – and how much fun it was to get out amongst my peers.


So the first thing I’ll be doing is renewing my membership. It’s been far too long with me knitting alone in my living room.


Two – it’s always fun to meet yarn suppliers I don’t know about. The evening’s supplier was Viola Yarns – they had beautiful skeins of hand-dyed wool on offer.


And three – I really enjoyed getting feedback from my fellow knitters about how to get Stitched Glass out into the world. People had great ideas and I so appreciate all of them.

Kirk Chatting with More Guild members.png

It’s great to feel part of a community. So I’m coming back as soon as I can, and when I do, I’ll have a much smaller project on hand to knit. Much smaller.

How Stitched Glass Gave Birth to The Knitting Pilgrim

Kirk facing the 1st window.jpg

How Stitched Glass Gave Birth to The Knitting Pilgrim


After fifteen years – a long, long time – of knitting Stitched Glass, my installation of tapestries looking at the commonalities and differences amongst the Abrahamic Faiths, things have started moving fast. Never thought I’d say that about knitting.


Needless to say, that’s meant I haven’t had time to blog about it all – so I have a bunch of blogs stored up. Here they come. February first.


The long-held purpose of Stitched Glass was to create an opportunity for conversation. Conversation, hopefully, among disparate groups of people – so that they could find common ground, rather than seeing the other groups as ‘the other.’


But as I approach the end of knitting the last tapestry, I’ve wondered how to do that. And off and on over decade and half of knitting, my wife, Claire, has wondered how to get the installation into textile museums and other galleries so that I could participate in that conversation. Claire would, in fits and starts between writing jobs, try reaching out to textile museums and the like, and get very little uptake. Granted, I’m not a trained visual artist – I didn’t get a Material Art degree from OCAD University (although that sounds like a really good time) – and I’m not represented by a gallery, and I don’t have a long history of solo and group exhibitions, because apparently I bit off way more than I could chew with Stitched Glass, and it’s taken a lot of time, alongside my day job and raising our kids with Claire, and doing the laundry. All very worthwhile and time-consuming things.


So one day about a year ago, knowing that I was over half-done the last tapestry, Claire discusses this problem with our good friend, Tracey Erin Smith. Tracey is the Artistic Director of Soulo Theatre here in Toronto, and she and Claire have often tackled artistic problems together, musing ways to keep moving forward despite the obstacles. At the time, Tracey’s theatre was producing a show called The Clergy Project which shares some themes with my textile installation – namely, interfaith empathy and focusing on what brings us together, not pulls us apart. Tracey, who is a great lateral thinker, asked if maybe she could use the tapestries as a backdrop for The Clergy Project – or as an exhibition that travelled with the show. Claire said that my last tapestry wasn’t finished yet, and also that I’d worked on the installation for so long, it really needed its own platform. So then Tracey said, why don’t you and Kirk write a show for him to perform alongside the tapestries, and use them as his set?


This, of course, was an ingenious idea, classic of Tracey. Because the reason I hadn’t attended OCAD U was because I’d attended the York University Theatre Performance Programme instead, where I’d trained as an actor. I was a full-time actor for 25 years or so, until my kids and Stitched Glass came along… so this idea of combining acting, writing and my knitting work created a new opportunity to get Stitched Glass out there.


Claire is a full-time writer, working primarily for film and TV, and we have often collaborated on writing projects over the years, so I asked her if she’d like to work with me on this project. I feared if I wrote it alone, it would never get done, because a half-tapestry still needed knitting. We pulled together our ideas, wrote 20 pages, applied to the Toronto Arts Council and were lucky enough to receive playwriting funds to develop the project (thank you so, so much, TAC). We called the show, The Knitting Pilgrim.


We asked our good friend Anna Pappas, Artistic Director of Ergo Arts Theatre, to produce it. She jumped on board right away because the play, and Stitched Glass, deal with themes like interfaith empathy, understanding of ‘the other,’ and conflict resolution – all themes she tackles in many Ergo Arts projects. A good match. 


We did a variety of things to prepare for, and develop, A Knitting Pilgrim. Claire and I continued to write. We brought on the wonderful playwright Beverley Cooper as our dramaturge to help us with the script, and we also brought on three faith consultants to work with us at both script and workshop stage: Reverend Janet Ryu-Chan, Presbyterian Minister at Morningside High Park Church, was our Christian consultant; Sarah Margles was our Jewish consultant; and Farheen Khan was our Muslim consultant.


I’ll pause here to say that even just the process of talking about this project with those three consultants was so stimulating for me. After all my research into the Abrahamic faiths over the length of knitting the tapestries, to meet at the same table with Christian, Jewish and Muslim friends and work through how to talk about the Abrahamic faiths, and how we were all feeling about the status of getting along in today’s world – interfaith or otherwise – taught me so much.


Then I took Tracey’s Soulo Theatre course to get my acting feet wet again, and get comfortable with the idea of talking out loud about the ideas that I’d been living with, stitch by stitch, row by row, over the last 15 years of knitting. Meanwhile, of course, I was feverishly knitting. Yup. That’s me. Always feverishly knitting.


Eventually we had a script we felt we could workshop – and that is how we spent this past February.


We rehearsed at The Small World Music Centre in Artscape - a cultural hub in the west of Toronto. Anna Pappas directed the workshop.

Anna Pappas at Smallworld Theatre.jpg

We brought on the fantastic Nick Bottomley as our projection designer.


Nick Bottomley at Small World.jpg


Nick produced some amazing images to project onto multiple screens to give people a sense of what the final show could look like.


Here, for example, in the show, I’m talking about when I went to apprentice in Kaffe Fassett’s studio in England with Kaffe and Brandon Mably.

Kirk on stage, Kaffe on screen.jpg

Here I am at the part of the show where the Christian window, or tapestry, is complete. At that point in the story, I’m only 5 years into my 15-year experience.


Kirk facing the 1st window.jpg

Bev Cooper, our dramaturge, worked with us on the script. 

Bev Cooper, Dramaturge, reading..jpg

Claire worked with us as the in-room writer, and Georgia Kirkos from jorjas photography captured the workshop with her beautiful photos.


We held a presentation to show the work in progress, mostly to solicit feedback from our trusted colleagues. My brother Marc came to see the show, as did our 3 faith consultants. 

Kirk and Marc.jpg

We had a really interesting debrief after the presentation about the show and its themes, and we got lots of ideas about how to continue developing the work toward a tour.


And that is how Stitched Glass gave birth to The Knitting Pilgrim. Ergo Arts Theatre will tour the two shows – the exhibition and the play – together in 2019. And yes, we’ll use the Stitched Glass tapestries as our set – but some venues, like museums and galleries, will also show Stitched Glass as its own exhibition. We’ll perform the play, which runs about 65 minutes, and then give the audience a chance to see the tapestries up close, have an informal discussion, or a Q&A and panel discussion – whatever our bookers desire.


If you know of a venue – a theatre, museum, gallery, place of faith, organization or knitters’ guild – that would like to book the show in 2019, please contact Ergo Arts Theatre and click on touring info.


I’m pretty excited about it all. I have a lot of people to thank: Tracey Erin Smith, for the initial seed of an idea that has already grown into such an interesting tree, my wife Claire who continues to go on this long journey with me, Anna for agreeing to produce the show, everyone associated with the workshop, and our three consultants.


I’m still learning. We’re still writing. I’m still knitting.

Knitting the Faiths Together

Knitting the Faiths Together

I was lucky enough to have Presbyterian Connection – the quarterly publication of The

Presbyterian Church in Canada – ask me to write an op ed piece about Stitched Glass, my

installation of three hand-knit tapestries in the shape of stained glass windows, looking at

the commonalities and differences of the Abrahamic faiths.

They asked me to do this because I am on my last segment of the project’s third and final

tapestry (pretty exciting stuff, because it’s taken me 15 years of knitting to get here), and

also because I am in the midst of preparing, with my wife Claire Ross Dunn and the

wonderful folk at Ergo Arts Theatre, to premiere a one-act play called The Knitting

Pilgrim that will accompany the Stitched Glass exhibition on tour. That will all be

happening soon.

So I’m sharing the Presbyterian Connection piece. Happy reading. And if you’re curious

about how to book the play and the exhibit of the textile work, please click here.


Prayer Shawl Knitting with Trafalgar Presbyterian

Prayer Shawl Knitting with Trafalgar Presbyterian

I like pretty much everything about knitting – except unpicking, which is what I had to do this past weekend, when I realized I’d make a mistake. A big mistake. It pains me to think that after 14 years of knitting on Stitched Glass, I’d lose a week’s work. That’s just moving in the wrong direction. Oh well. I suppose knitting teaches me to accept what is – and I do like that, too. But I’d prefer to accept ‘what is’ some other, much less painful way, thank you very much.(Read More)

Local Knitting: Me and Topsy Farms

Local Knitting: Me and Topsy Farms

I’ve been working on and off on a pillow design for Topsy Farms. I’ve written about Topsy Farms before – run by Sally Bowen and Ian Murray, Topsy is located on Amherst Island, about two and a half hours east of Toronto – in other words, one ferry east of Prince Edward County. I was born near Amherst Island, in Amherstview, and it was my father’s first charge after graduating from theological school at Knox College, University of Toronto. My parents moved back to Amherst Island decades later, and my father was again the minister at St. Paul’s, so I have roots there. Our kids loved their time traipsing through A.I. farmers’ fields, watching cows get milked in barns, and feeding Topsy Farms lambs with baby bottles. (Read More)

Happy International Women's Day

Happy International Women's Day

In honour of International Women’s Day, here is my latest Pussy Hat. It’s for the women (and all humans), who are taking care of our planet. (Read More)

Make way for pussyhats

Make way for pussyhats

Today is the March on Washington.  My pussyhat efforts are all but done.  Four of my pussyhats have gone to Washington with Tracey Erin Smith,  and Savoy Howe,  and Soulo Theatre (awesome artist Kerry Furneaux knit up another three for the Soulomobile as well).  My remaining three pussyhats will be marching locally here in Toronto. (Read More)

Pussyhats purring along

Pussyhats purring along

Okay. It’s true. I can’t help myself. I keep making these hats for The Pussy Hat Project. Yes, way back in my brain, I suppose I am dreaming that I can make 54 of them for everyone one of the passengers on Tracey Erin Smith’s and Savoy Howe’s Soulomobile – all participants in Soulo Theatre’s March on Washington on Jan 21, 2017. I probably won’t make that goal before they leave for their marchtravaganza for women’s rights, and to make their voices heard, and to make theatre about their experience. (Read More)

The Demands of Not Knitting

The Demands of Not Knitting

Taking on a project as big as Stitched Glass has many demands – researching, designing, mocking up and then knitting, by hand, solo, three 5-foot by 9-foot tapestries. Lord only knows what I was thinking.(Read More)

Feeding the Hungry Yarn Stash: Topsy Farms

Feeding the Hungry Yarn Stash: Topsy Farms

Part of the money awarded to me through my Chalmers Arts Fellowship for my installation, Stitched Glass, was allotted to supplies – namely, yarn. Lots and lots of yarn.

I didn’t quite understand how much yarn was required to knit three tapestries, each of which is about five feet wide by eight feet high. Which makes sense, given I didn’t quite understand how long it would take to knit Stitched Glass (that’s thirteen years and counting). 

So I started buying yarn wherever we went, wherever we saw an interesting yarn store. We have bought yarn in many places in Ontario, in Canada, and abroad... (Read More)