weaving
Amy Lewis
Could you share a bit about yourself and your background?
I am an artist and designer with a background in graphic design and graduated from Design Academy Eindhoven in 2022.
What was the early motivation to express your creativity through weaving?
Discovering textiles and the technique of weaving during my studies at Design Academy Eindhoven allowed me to sense the traces of the hand captured in woven works and how that human touch brings tactile depth and warmth to material and object. Since then, I have focused my practice on developing contemporary translations of the beauty that manifests in traditional textile crafts. Whether it would be through weaving or hand braiding, I enjoy learning craft techniques and finding ways to create sensorial experiences in daily life with them.
Weaving is a way to structure matter. Not only tangible materials but history can also be a material. Developing a contemporary translation of the beauty in traditional textile crafts like weaving allows me to find ways to reuse or re-purpose materials and techniques to live again in spaces, objects and materials.
Can you share your thoughts on how your education and work experience in design and graphic design have influenced your approach to weaving?
Having first graduated in Visual Communications and worked as a graphic designer, I developed a strong affinity with symbolism and abstraction to condense complex messages/concepts through visual cues. Cultural and historical research helped me find meaning, purpose and developing character in branding and visual identities. These years trained me to focus on the essence and how best to communicate the chosen message.
After years of working at my desk, the desire to work with my hands was immense and was the prime reason to return to education to learn how I could be more hands on with material expression and storytelling. Weaving felt more natural to me having come from a graphic design background where working with grids and systems were the norm. By defining parameters I had a structure to work within, but the flexibility that weaving offers in material freedom allows me to be expressive. Oftentimes materials come with their own stories and I enjoy translating them for others to experience through weaving and other traditional textile craft techniques.
How do you think the places, people, and traditions where you grew up are now manifesting in your art? Could you share your feelings about these cherished gifts and heritage?
Born and bred in London but having mixed heritage inspires me to bridge British and Japanese sensibilities which is the driving force of my design research. Magical childhood memories of visiting family in Japan are strong reminders of what shaped me along the way.
The wonder and awe of Japan that I felt then still remains and manifests in my work today.
Can you take us through your process? Do you have any particular rituals that help you dive into it with greater ease and foster a more natural flow?
My work originates from material based historical and contextual research and analysis. Through consideration of its material properties, and the study of its creation it's possible to read the material narrative. Exploring freely with the material through hands-on experimentation of techniques to map out the behaviours and characteristics of a material provides me with a broad sensorial overview of a material. This process allows me to enjoy the mechanical approach to design and the intuitive approach of craft where you can evoke a feeling and emotion. The duality of these approaches allows me access into the potential of materials, colours, functions and forms that lay dormant.
How do you keep an open mind for finding delight in trial, error, and experimentation and respond creatively to the challenges of weaving?
Starting with an open mind can be a blessing and a curse. The openness is usually overwhelming and it’s easy to get lost. I practise trusting my intuition and learn from the experimentation. If I let the outcomes of the trials be the driver of decisions and be aware of not forcing my own preconvictions then I work in the belief that the course of action will show itself.
When it comes to the tactile aspect of your work and its connection with your body, how does the hands-on nature impact your overall happiness and well-being?
The rhythmic movement and gestures involved in preparation and during weaving is so soothing especially after what can sometimes be a long and mentally exhaustive journey during the conceptualisation phase. Feeling connected to the material and using my body to create my work is so satisfying and being able to see, touch and feel my works brings me joy in the making.
Where do you think lies the biggest potential to preserve important local crafts in the contemporary context?
Craft for me originates from the learnings of our ancestors. Some are ancient techniques handed down over human history which allows me to intertwine the past, present, and future. It’s a celebration of the human touch to making and inspires me to create sensorial experiences to reimagine the mundane to create joy in our everyday life.
What current projects excite you right now?
An upcoming residency in Portugal where I will learn to work with Porcelain, Glass and Crystal.
Amy´s socials @studioamylewis, www.1-6m2.com
Image [2, 4, 9, and 10] by Patty van den Elshout, and the rest belongs to Amy.
