Emma Shepherd

Name: Emma Shepherd

Studio location: Melbourne, Australia

Website / social links: emmashepherd.com, @emma_shepherd_

Loom type or tool preference: 8 shaft Jack loom

Years weaving: 3.5

Fiber inclination: Natural yarns, mainly linen / cotton / wool

Current favorite weaving book: The staple go to – The Weaver’s Book of 8–Shaft Patterns

 

 

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

During my BA degree in textile design in Melbourne we were able to trial printing, knitting and weaving, and then eventually specialize in one of these fields. I was immediately drawn to weave – I found a lot of joy through the repetition of movement, the symmetry and the slowness. It was then, and continues to be now, a way of processing colour, texture, pattern, history, and function in a tangible way. My greatest resources were my teachers, who were always supportive, encouraging of early work and inspiring. Our weave technician, Kim, was hugely formative during my years at university, her encouragement and guidance, and ability to understand and articulate my visions even when I was unable to do so, was instrumental in my growth.

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?

For me, all these fields intersect in some way, and I believe my work crosses over between the disciplines, depending on the context and how each individual views the work. At this point I call myself a textile designer, as this is what I graduated with, but as my practice evolves this is likely change.

3. Describe your first experience with weaving.

My first experience was at uni, weaving samplers on the table looms there. Putting on my first warp was a pretty drawn out experience, it was so fine it became very knotted, and took many hours more hours than necessary to dress the loom. My initial samples were truly ugly, a number involving leaves stuffed into the weft, but despite this I loved the process.

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 work is a relationship of parts, each piece complimenting the next. From the beginning, I create with a collection in mind – this is a way of managing colour, pattern, texture, scale and materiality for me. I start by collating ideas and feelings, usually creating a moodboard, and bringing together a rough colour palette of yarns, sketching, referencing imagery I have saved over time.  I’ll often look at the yarns I have which inspire me, and find a structure that works for and celebrates the material.

 

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

I want to preserve and honour the tradition and process of hand-weaving, a skill that has become less common post – industrialization, especially in the western world. I love the process of making, the tactility, and to create something from nothing is pretty special in itself.  

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

I’m always excited by part of weaving where you get lost in the rhythm, when it becomes more movement than thought, however my favourite part overlaps with my least, the designing and sampling of an idea. There is a lot of thought, and failed experiments that go into each piece and it can be really tough when things aren’t going well, but also the greatest feeling when something works. It is all a process of learning, however I have a tendency to put a lot of pressure on myself and become overwhelmed. When I break this down into steps it becomes easier.

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?

At this stage, I don’t, but I would really like to – although I am yet to figure out how this is financially possible as my work doesn’t really fall into the art category. To make handwoven, functional pieces is to ask a lot from those wanting to buy from you, given how slow the process is, therefore how expensive a cushion or blanket will become.

8. Where do you find inspiration?

Travel, interior designers, textile books (especially those with a focus on South American and African textiles), painters, photographers, ceramicists. I try to be mindful of how I view other weaver’s work, especially contemporary weavers, to appreciate their work without subconsciously taking elements from it.  

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

Weavers and weave related labels whose work is I find myself constantly drawn to for their beauty, originality, thoughtfulness and methods include Mourne Textiles, Rachel Snack, Amy Revier, Esther Van Schuylenbergh, Pan After, Ace & Jig, Annie Albers, Hermine van Dijick, We are Pampa, Woven in the Bone, Tigmi Trading, Urgha Loom Shed, Among Equals, Peter Collingwood, Halcyon Lakes. A number of these weavers have been generous enough with their time to have met with me and I really appreciate this and the sense of community this fosters.

I also have a very inspiring cohort of emerging designers and makers from uni whose work is amazing and I feel lucky to know.

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

I would do more block printing, more ceramics, and probably work in the interior design field.