When designing everyday objects, I am gradually uncovering what a constrained craft process can do differently from machine production. There is more room for play, perhaps, or unpredictability, and intricate finger-controlled effects. There is also an emotional charge from the weaver's hand working at such a slow pace, multiplied by the mundane repetition of simply living with a rug or towel or blanket.
Weaving cloth for clothing feels like a “starting point” for me, both literally—as my first floor loom project, under Kate Smith—and symbolically—as an ongoing opportunity to fashion unique bodily signifiers. I am fascinated with calibrating these surfaces that influence how subjects arrive into being and into relation. For advanced garments, I collaborate with Claire Bergey as the atelier 123456switch.
I am always curious to expand my repertoire with structures, processes, and techniques that stretch the woven form. A dramatic example of this is ondulé, which bends thread out of the usual rigid grid to instead form waves, as taught to me by Amy Putansu. Also pictured is a handmade net with different thicknesses of material.
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