Avery Williamson

Name: Avery Williamson

Studio location: Ann Arbor, MI

Website / social links: averywilliamson.com, @aisforavery

Loom type or tool preference: Beka Frame Loom

Years weaving: 7

Fiber inclination: everything and always looking for more

Current favorite weaving book: Sheila Hicks: Weaving as Metaphor

 

 

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

I began weaving 7 years ago. I was interested in getting away from screens and devices and using my hands more. I looked at online resources and what other weavers and fiber artists were posting on Instagram. Those online resources and my curiosity helped me begin my weaving practice.

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?

“Artist” captures the breadth of my current practice. I weave, paint, collage, write, and make jewelry.

3. Describe your first experience with weaving.

I found an old wooden picture frame and put nails on either side and that was my first loom. I used some yarn I found around the house and old upholstery fabric. That was my first weaving experience and I was hooked.  I was curious and not too afraid to make mistakes. I learn through repetition so I just kept weaving even when things weren’t turning out as I wanted or imagined them to look. It’s really important to keep making even when you aren’t able to produce what you envision in your head.

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?

Sometimes I sketch my idea before I start weaving, and sometimes I don’t. I’m usually drawn to bulky bold yarns. I always use a Beka Loom and often modify it to make longer pieces. I’m drawn to non-traditional materials like balloons, plastic bags, and pieces of mica. I like to keep it weird and funky.

 

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

My weavings are portraits. My visual art practice is informed by narratives of Black women in personal and institutional archives. The titles are very important to the work and are often in response to or a reflection of current events. For me weaving is processing. It is pleasure and intervention and a site of imagination.

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

I am a process person and find different types of joy in the different stages of weaving. I usually work on a few different projects at a time. This keeps me excited and interested in every step of the weaving process. My least favorite part of weaving is cleaning up my workspace. I love mess but sometimes it’s too much.

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?

Yes, I do sell some of my work. Selling work supports my ability to experiment with new materials in my studio practice.

8. Where do you find inspiration?

I find inspiration when I talk with my friends, read books and walk around my neighborhood. Nature is magic. Spring and summer are my favorite seasons. I love watching things bloom and grow. I’m drawn to the colors of vines and flowers.

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

Ricky Weaver is a very accomplished image-based artist and educator. We’re collaborating on various projects this year and I learn so much from each conversation we have. Katherine Agard and I have been long-time collaborators. Her book “Of Colour” recently came out and I’m so inspired by her visual and written work. Nastassja Swift is an extremely talented artist who works with fibers. I’m wowed by everything she introduces to the world. We are also working on a collaboration. I was recently introduced to Bryana Bibbs’ (Field Notes interview) work and it’s stunning. Shenequa Brooks’ work continues to excite and delight me. I feel so lucky to be connected to so many talented artists all over the country.

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

That’s a sad world to consider. I don’t think I’d give up weaving without a fight. I’d probably try to find a collaborator to support my efforts to weave. Collaboration has been a source of inspiration, joy and companionship. Anything is possible with the right collaborator.

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

I will have my woven work featured in the San Francisco Bay Area Craft Week starting September 7th.