Emily Robinson

Name: Emily Robinson

Pronouns: She/Her

Studio location: Dallas, TX

Website / social links: @handsy.studio

Loom type or tool preference: 8-harness floor loom although one day I hope to have a 16-harness AVL

Years weaving: 7

Fiber inclination: cotton, linen, raffia

Current favorite weaving book: Woven Textile Design by Jan Shenton

Contact information for commissions and collaborations: email address

 

 

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

I discovered weaving as an undergrad at the University of North Texas in Denton, TX in 2015. I had changed majors and was hoping to do something more creative when I learned about the Fibers program. It was in the UNT Fibers program, which has since been dissolved, that I took a weaving class and completely fell in love with the craft. At the time my greatest resource was my professor, Lesli Robertson, as well as the essential weaving book: A Weaver’s Book of 8-Shaft Patterns.

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?

This definition is not super important to me but ultimately I call myself a Weaver or Textile Designer when explaining to strangers what it is I do for a living (lol, if you know you know). I work full time as a Textile Designer at Perennials Fabrics but also have a personal practice that includes weaving, painting, and collage.

3. Describe your first experience with weaving.

My first experience weaving was in the aforementioned weaving class taught by Lesli Robertson. It was on a 4 or 8 harness Macomber Ad-A-Harness floor loom, which is to this day my favorite type of floor loom to weave on. We made striped black and white warps and wove with a ton of different color yarns to get an idea of how colors mix in wovens. I still have the little sampler somewhere!

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 creative process is something that has been consistently evolving for the last several years as I have completed grad school, entered the textile industry, and more recently, started up my personal practice. Typically there will be an initial inspiration, whether it be a color, pattern, or material that I become fixated on. I will collage, paint or sketch out what I’d like to accomplish with that inspiration and then I will design the warp, and figure out all of the math and logistics. I really love exploring double cloth and its possibilities with graphic patterns and dimensional shapes.

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

My recent graduate thesis collection was focused on gingham and its relationship to the history of domesticity in America. Both gingham and domesticity are things that remind me of my childhood and the women in my family. I still think about both of these things a lot while weaving, so in some sense, my work is centered around them.

It is fascinating to me how ancient of a craft weaving is... It’s an incredibly human process, and something women have been doing for thousands of years. Carrying on this tradition by mastering this craft feels really important to me, and does seem to be a motivation for me to continue pursuing this craft.

 

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

My favorite part of the weaving process is the actual weaving. Watching cloth be built and patterns become revealed pick by pick will always be exciting to me. I also thoroughly enjoy the math and logic that comes with designing and drafting an original weaving pattern or structure.

My least favorite part of the weaving process is anything that has to happen because I haven't prepared properly. Adding heddles to harnesses when most of the warp is already threaded…or having to re-dent the entire reed can feel like it takes hours off of my life.

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 do make a living from weaving. I feel very lucky to have a full-time textile design job that values hand weaving as a part of the design process. 

I am ramping up my personal studio practice again after graduating from grad school and working in the industry for a little over a year. At Perennials Fabrics I work on a team that designs luxury performance fabric for interiors. This involves very fine acrylic yarns, high densities, precision, and efficiency. When thinking of my personal practice, I want to experiment with all the things I don't get to do at work.

8. Where do you find inspiration?

Other weavers, interior designers, antique furniture and decor, vintage clothing…

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

SO many weavers… the first that come to mind are Christy Matson, Meghan Spielman and Lori Seidemann. I'm so inspired by their unusual and interesting use of color and beautiful woven compositions.

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

If I could no longer weave, I would probably try to explore painting more or try to become better at sewing. My mom is a quilter and I would love to make at least 1 quilt in my lifetime.

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

In August (date TBD) there will be an open studio/art walk at Goldmark Cultural Center in Dallas, TX which is where my studio is located. My goal is to have a body of work to showcase and sell at this event!