Iris Delphine Murphy

Name: Iris Delphine Murphy

Studio location: Silverlake, CA

Website / social links: irisdelphinemurphy.com, @irisdelphine_textiles

Loom type or tool preference: 40” AVL Compu- Dobby (24 harness)

Years weaving: 6

Fiber inclination: Paper yarn, silk, cotton and linen

Current favorite weaving book: Textiles: Fiber to Fabric fifth edition by Dr. Bernard P. Corbman

 

 

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

Though the majority of what I know about weaving today came from studying Textile Design at Central Saint Martins in the UK, I wouldn’t have gotten there if I hadn’t taken a “4 harness weaving workshop” at Textile Arts Center. This is where I learned the basics of harnesses and how they connect with pattern. At the time though, it was very overwhelming and I think much of it went over my head.

TAC was such a wonderful fountain of knowledge that really opened my eyes to how weaving works.

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?

I actually wrote my dissertation on the difference and crossover of craft and design, which I find as a subject very interesting and stifling. I identify as a Weaver, because no matter what I am doing (from project to project) the through-line is weaving.

In regards to the different titles and which one suits me best, I actually feel that they all do. For me, they are all interwoven (no pun intended!) and I don’t think one facet of these practices can thrive without the interplay with all of the others.

3. Describe your first experience with weaving.

I went into my first experience with weaving, already so excited. I had bought this old vintage book on weaving beforehand in an effort to comprehend the principles. This was unsuccessful, but as I later found out, the terminology and approach can vastly differ, depending on who and where the knowledge is coming from. 

Once I started up on a loom for the first time, I actually was able to slowly use my hand-brain connection to decipher the weaving language, although the epiphanies certainly did not come all at once. It was only when I started to apply technique in practice and move away from theory, my understanding started to open up to a more universal language.

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?

It depends on the project…

One approach applies to artwork samples for industry: In this case, I create a mood board with a specific subject and fabric inspiration. I then draw inspirational sparks off of this, coming up with woven structures and warp ideas that then interpret and evoke my illustrations. In this approach, the concept determines the fiber and yarn choice.

The other approach applies to commissions or product-based work:I assess what attributes would be most conducive for the project; feeling, proportions, color, etc. Then, I collect inspirational elements for the project. After that, with all this in mind, I design and create different color and texture combinations and choose the best one. I mainly choose the fiber and yarn content based on its relationship to the end-use. 

For all my work I do testers and only after that do I start designing. I use Fiberworks to plot out my structures and then I get to weaving. As time has progressed, I prefer simpler structures, but of course, I can’t help complicating things a lot of the time! I do love twills… they might be my favorite.

At University, I was exposed to 4 types of looms, one of them being 24 harness ARM loom. I love the range of capability that the harnesses give, the fact that I don’t have to memorize shaft numbers and keep a record of structures when weaving testers is such a win! 

Fibers are very important to my process as well. My absolute favorite yarn is paper; I use it whenever I can. I still have a lot of love for organzine, but it hasn’t had a practical place in my work for a while. I try to stick with natural fibers, but definitely love a little pop of metallic or pearlescent every now and again. I also try my best to incorporate sustainability into my work when I can, using leftover trims and material.

 

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

When I make artwork samples I usually try and give them conceptual purpose. For example, my ‘Still Fluidity’ collection was inspired by mid-century abstract sculpture. I was able to recreate abstracted human form through long-exposure photographs of dancers. These blurred images inspired the design and resulted in static textiles that were both sculptural and evoked the animation of the human form.

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

I love all the phases of weaving. Currently, I really enjoy warping up. It’s when I've finished designing the textile and I can just decompress and enjoy the tactility of setting up my loom. My least favorite part is dying yarn. I try to be as precise as possible, so it can end up taking up a good chunk of the day. Also, it’s a very unpleasant feeling if I get the color wrong.

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 have sold a few larger installation pieces and artwork samples, as well as home goods, but these are presently crazy times and I’m working up to it!

8. Where do you find inspiration?

I find inspiration sometimes in environments. The LA River is a good example of that. There is a constant push and pull between nature and the river's imposing artificial infrastructure. I love to watch how the two of these elements interact, both in an opposing and symbiotic way.

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

Weavers I’m inspired by include; Marianne Kemp, Meghan Spielman, Maria Eugenia Davila & Eduardo Portillo. I also admire Olli Atelier for their use of hand-woven upcycled materials in concert with a viable commercial approach. 

For art outside of weaving, I love Isamu Noguchi. The manner in which his sculpture captures movement in a minimal and beautiful liquid-like form is the best!

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

I'd be knitting on my knitting machine!

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

I am currently launching a new series of more accessible wall hangings, called Totems. The series consists of three Totems, all proceeds being donated to The Okra Project, Radical Monarchs, and Autistic People of Color Fund. These Totems are made from remnant materials, ceramic, hemp and paper yarn. You can find them on my Instagram!