Bryana Bibbs

Name: Bryana Bibbs

Studio location: Chicago, Illinois

Website / social links: bryanabibbs.com, @bryanabibbs

Loom type or tool preference: 55” Gilmore 8-harness Floor Loom and Schacht Lilli Frame Loom

Years weaving: 9

Fiber inclination: EVERYTHING

Current favorite weaving book: Sheila Hicks: Lifelines by Monique Levi-Strauss and Wrapped in Pride: Ghanaian Kente and African American Identity by Doran H. Ross

 

 

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

When I entered my first year at the School of the Art Institute of Chicago, I always thought that I would walk out as a “masterful” abstract expressionist painter. But in my second semester I saw the “Introduction to Fibers and Material Studies” class and after I read the description of the course I became really curious about what fibers was about. In that class, is where I discovered weaving for the first time. Immediately after taking that class I made sure I took other classes that could benefit my interest in weaving.

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?

When I’m making work for exhibitions I consider myself as an artist that weaves and paints. For me, this definition doesn’t matter because I feel as though there is artistry that goes into all of these definitions.

3. Describe your first experience with weaving.

In the Introduction to Fiber and Material Studies class, my amazing professor who I still talk about until this very day (Jerry Bleem) taught us how to weave a 10”x10” square on the loom. I remember that feeling of running my boat shuttle through the warp threads over and over again, it had gotten to the point where I had become relaxed. And cutting the weaving off of the loom for the first time was such an amazing feeling. I was so proud of that small weaving (it was earth toned) and how it turned out. In the remaining years at SAIC, I stayed in fibers and continued studying weaving.

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?

 I find that my teaching artist/art education practice is somewhat different than my practice as an artist. My creative process for weaving as a teaching artist is to try everything and making mistakes could be beautiful. During Quarantine in Chicago, I had made what I called “The Quarantine Series” which are small weavings done on a frame loom. The point of these weavings were to experiment with materials that I had around the house or materials that I had never used before (clay, handmade paper, dried paint). Plain weave is the only structure I used within this series because I feel that there is a lot that can be done when combining color and material without the use of a difficult structure.

 

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

My work for exhibitions is inspired by abstract expressionism and Ghanaian Kente Cloth. I consider my work to be journals of my life and experiences that I’ve had with relationships, mental health, and self-worth. Every color that I use in my work has a significance to me and what that specific piece is about. But what I enjoy about using color is it allows for the viewer to have their own experience with the piece. I find it interesting when people use their own narratives because it makes the work personal for them.

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

My favorite part of weaving is the back and forth motion of the shuttle. I think there’s a lot of meditation that comes with weaving that can be so helpful and relaxing. My least favorite part is threading!

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?

Back in November 2019, I left my retail job in Chicago to become a teaching artist and studio artist full time and that has been the best decision I have ever made. Since then I have been able to produce work to sell and within the past few months of quarantine I have connected with people on social media and just recently started doing commission work.

8. Where do you find inspiration?

My inspiration comes everyday life and from my journals. There was a period of time where I wasn’t making work but I was journaling a lot. All of my work has been about things that have happened to me. Although looking at these journals may not always bring good memories, its also useful because it helps me title my work, and most importantly it allows me to produce work that is about strength and healing.

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

Sheila Hicks is a HUGE inspiration to me, especially when it comes to being a teaching artist. Suzanne Tick is also another artist I really admire. Both women are so passionate about weaving and have really dedicated themselves to it for so long. After having left my job and making a huge bet on myself that I can be a successful artist, I have really looked at both women as an inspiration for whatever my future holds.

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

I would probably be a food critic.

Do you have any upcoming exhibits, talks, or events the community should know about?

I have my first solo exhibition at Chicago’s ARC Gallery, titled “Power Trip”. The show will be July 22- Aug 15th, 2020 (Opening Reception is Friday July 24 6p-9p) and will include six new pieces. I am also a teaching artist at the Art Institute of Chicago and the Evanston Art Center, so be sure to check out future workshops!