Alyson Ainsworth

Name: Alyson Ainsworth

Studio location: New York, NY

Website / social links: alysonainsworth.com, @alysonainsworth

Loom type or tool preference: Dobby Looms

Years weaving: 12

Fiber inclination: I’ve always been drawn to weaving with unconventional materials - metals, wire, plastics, paper, etc., but I also have a deep appreciation of natural fibers such as cottons linens, and wools. It really just depends on the project I’m working on and the look I’m after.

Current favorite weaving book: Lately, Anni Albers’ On Weaving has been particularly inspiring, especially after seeing her work at David Zwirner in New York City last year. For technical references, my favorite is The Weaver's Book of 8-Shaft Patterns by Carol Strickler.

 

 

1. How did you discover weaving and was what your greatest resource as a beginner?

I was first introduced to weaving while a sophomore at the Rhode Island School of Design (RISD). My professors and peers were my greatest resources at the time, and I was fortunate to be surrounded by some of the most knowledgeable and talented weavers I know.

2. How do you define your practice – do you consider yourself an artist / craftsperson / weaver / designer / general creative or a combination of those? Is this definition important to you?

I consider myself a designer and weaver. But an important aspect of my work is creating artwork by hand to inform the design process, whether through hand-weaving, drawing, painting, etc. Generally, I believe it’s more important to draw on the knowledge you have as a creative, rather than use a specific label to define what you do.

3. Describe your first experience with weaving.

It was daunting! It was my first assignment in Weaving I class. I want to say it took a few days to set up my first warp. I’m pretty sure I made a mistake in the threading too, probably in the middle of the warp. Even though it took forever, I also remember feeling like the whole process just made sense to me - the balance and evenness of it all. 

A few years later, when I was a teaching assistant for the same class, I had to set up the professor’s loom with the same warp. It only took me about two hours. It felt like a real accomplishment at the time.

4. What is your creative process, from the initial idea to the finished piece? Are there specific weave structures, looms, or fibers that are important to your process?

My approach to the creative process varies depending on what I am designing or trying to achieve. Sometimes I find inspiration that gives me ideas for color or woven pattern development. From there I will draft and design new weaves, after which I’ll plan out the warp. Or I might have a specific weave structure in mind that I want to experiment with, in which case I’ll set up a warp and tweak different weave structures until I get the effect I want. In my professional process, I work with a combination of dobby looms and jacquard software. In my personal setup, I have an 8-harness table loom (though I hope to change that in the near future).

 

5. Does your work have a conceptual purpose or greater meaning? If so, do you center your making around these concepts?

My work is often focused around exploring materials or techniques, rather than exploring conceptual purpose. I might take a traditional weave structure and combine it with unusual materials in the warp and weft to make it feel more contemporary. Sometimes I like to focus on a category of weave structures using relatively standard materials and see if I can manipulate them on the loom in a new and exciting way. It’s an iterative process.

 

6. What is your favorite part of the weaving process and why? What’s your least favorite?

There have been different points in my career where parts of the weaving process have frustrated me. But over time I’ve grown really fond of entire process. It's a genuinely meditative experience. The most satisfying point for me is just after the warp is set up and ready to go, right before weaving. Knowing the loom is set up perfectly gives me a sense of completion, while the anticipation of starting something new is very exciting.  

7. Do you sell your work or make a living from weaving? If so, what does that look like and how has that affected your studio practice?

I am currently the Master Weaver at Chilewich. I develop woven designs through hand weaving on an in-house dobby loom and through jacquard software. I then work with our US mill partners to translate these designs into finished fabric to be made into placemats, floormats, contract flooring, or wallcovering. When I design for Chilewich, it is a very focused process because Chilewich is known for its very specific materials—mostly woven PVC. In my personal work, by contrast, I like to experiment with materials and techniques that can’t be utilized in my day to day. I’ll often make smaller samples that allow me to quickly test out ideas or colors. I like to think of them as sketches.

8. Where do you find inspiration?

I often reference books, both weaving and general art books. Some of my recurring sources of inspirations are architecture, geometry, light and color.

9. What other creatives do you admire – weavers, artists, entrepreneurs – and why?

Anni Albers, Sheila Hicks, Gunta Stölzl, Sonia Delauney, Nasreen Mohamedi, Agnes Martin, Margo Selby, Wallace and Sewell, Dash and Miller, and Block Shop Textiles.

10. If you could no longer weave, what would you do instead?

It’s a question that I’ve been asked a few times and I struggle to answer. I find it difficult to imagine another career that I could feel as confident and passionate about that would simultaneously challenge me and bring me satisfaction. It would have to be a creative field and probably something that enabled me to work with my hands. I’ve often been interested in the relationship of textiles and furniture design. Possibly, pursuing furniture would give me an opportunity to explore a new creative field while building on the knowledge and experience I already have.