I’ve been feeling a little nostalgic about weaving lately. Now I’m no Freud, but I have a sneaking suspicion it might have something to do with my current plans to start teaching weaving workshops… Sometimes the more advanced you are at your craft, the easier it can be to lose touch with the basics, and as I’ve been preparing the looms and instructional sheets for my workshops, I’ve been revisiting my roots with weaving and (quite frankly) it’s giving me all the feels.
I get stressed about social media. If you look back through my Instagram feed you’ll see a long series of inconsistency, with posts sometimes appearing up to twice a day, or as little as once every two to three weeks. There’s a simple explanation for this: I’m not comfortable in the world of business social media, and it shows all over my Instagram.
So why bother posting at all? Why not eliminate the stress entirely? Ask any small creative business owner, and they’ll tell you they need social media, that it’s a critical part of their marketing, that it’s a huge part of their brand.
It's been quite a while since I posted anything, and that's mainly because I spent the first month of the year travelling around South-East Asia, and second month of the year feeling sad that I was no longer travelling around South-East Asia... However, now I'm back in the game, and ready to stop pining after the recent months, but to reflect happily upon them.
I take a lot of photos of buildings. I’ve been a weaver for 12 years now, and architecture has been a constant source of inspiration over the years, yet I rarely pause to consider why I’m so drawn to large-scale structures.
Over the last few weeks I’ve been consciously trying to identify what I love about buildings and why I always reference them in my work, and the answer I’ve arrived at is that I see a natural relationship between the form of a building and the form of a woven textile. Call me crazy, but I’ve come to see such a clear link between the two that I feel embarrassed for not recognising it before.
When I was last in London, I picked up a copy of Critical Craft, a selection of essays that take a challenging look at what craft means, and its role across the world. With thirteen essays, each focusing on a different element of the culture of craft, editors Clare M. Wilkinson-Weber and Alicia Ory DeNicola have put together a thought-provoking book that takes the time to ask valuable questions about a subject I happen to care deeply about.