Kate Koconis

Name: Kate Koconis

Pronouns: she/her

Studio location: Providence Forge, VA, USA

Website / social links: littleblacksheepstudio.com, @l.b.s.studio

Loom type or tool preference: 4 Shaft LeClerc Floor Loom

Years weaving: 16

Fiber inclination: Cotton size 8/4

Current favorite weaving book: On Weaving by Anni Albers

Contact information for commissions and collaborations: email address

 

 

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

I have been aware of weaving as a craft since childhood, but didn't officially learn how to weave until my first year of college. My mother dabbled in weaving, and had a large floor loom which I used to play under as a child. It got packed away and put into storage before I ever got the chance to use it for weaving. But it left me curious.

When I went to college and got the chance to take some weaving classes I jumped at it. Sitting down at the loom was comfortable, and felt right, and I had to learn more. I only spent 2 years at school, but wove constantly. The time to weave was the greatest resource I could’ve asked for as a beginner. Weaving is a slow craft, and having that time to explore was huge.

A couple years after leaving school, I was able to get my hands on a 46" 4 harness floor loom. I was able to weave whenever and as much as I wanted. I had the freedom to try new things, make a lot of mistakes, and fine tune what worked well for me. I've been weaving for 16 years, and I'm only now really starting to feel like I've found my groove. Although I also feel like there's a lot I’ve yet to learn.

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?

Equally an artist and craftsperson. I take great pride in the technical aspect of crafting a well made physical object by hand. It has taken years of study and practice to understand this process and use it to manipulate materials the way I want. Learning and knowing the rules of a process falls under craft. Breaking the rules is where the artist emerges.

I tend to think of my weaving more like painting. Utilizing the lines and shapes of a pattern in place of a brushstroke. Each stroke just takes some forethought, planning, set up, and time to make it happen. Each piece is unique to itself, and reflects the season/moment in time it was woven. There may be pieces that are similar, but never exactly the same.

3. Describe your first experience with weaving.

It was during my intro to weaving class in college. I can’t recall what exactly I wove, it was either a blanket or a tapestry, but it felt like I had found my thing. Setting up the loom was difficult but in a good way. Running my hands through the threads was calming. Counting frames as I threaded each heddle was a new kind of focus. And then watching the pattern grow one row, one thread at a time was like magic. I couldn’t believe that all my equations and counting could result in something so fantastic. Weaving made time slow down and I forgot all my worries and stresses. Which is a big deal because I am an overthinker and have a lot of trouble turning off my brain. While weaving it was just me and the gentle click clack of the loom and the swoosh bobble bobble of the shuttle, and nothing else existed.

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 process has changed a lot over time. I’ve used the whole spectrum of materials, from as natural as they come (home grown undyed wool) to the unnatural (glitter spun into 100% acrylic) and everything in between. I’ve woven on floor looms and frame looms, experimenting with a wide variety of weave structures. My current process has been with me for about 4 years and came about when I became a mother. I went through a drastic transformation as a person and my weaving practice followed suit. I felt the need to simplify things all around me and for weaving that meant limiting my options.

My current process includes an unassuming 8/4 cotton thread, a four shaft floor loom and overshot patterns. An idea usually starts with a pattern and the question “what would happen if…?” or “can I make it do xyx?”. I love exploring patterns and seeing how I can morph them to suit my own visual desires. I only ever write out the threading, the treadling I do by feel. It’s like I’m drawing (very slowly) with the pattern as I weave. I usually weave a few different pieces on one warp, so I can get a good sense of what the pattern can create. Once a piece comes off the loom, I make a custom wooden hanger for it, and then I’m on to the next idea.

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

I think I’m still trying to figure that out exactly. There’s not really a conceptual purpose to my work, but there are some greater forces that keep me weaving. I (and subsequently my work) am driven by connection, creation, and curiosity. The weaving studio was the first place I felt like I truly belonged. It was an easy fit, and I didn’t even have to try. I feel a special connection to those that have wove before me and those continuing the tradition currently. I am committed to the continuation of this craft, to not only keep it alive, but to help it grow and thrive.

The phenomenon of creation is something I find fascinating. The act of something coming into being, is simply amazing on every level. My being able to facilitate that creation is an incredible experience. Everytime I make a new weaving I get a front row seat, watching an idea turn from electricity bouncing around in my brain, into a real life tangible object. It’s so cool and I can’t get enough of it.

The curiosity to see what else is out there to learn is a huge motivator too. There is one thing I know for sure and that is that I don’t know everything. I feel as though I have only scratched the surface of the possibilities weaving provides, and I’ve been at it for 16 years. There is also an aspect of curiosity on the viewers part. I get a lot of “what am I looking at” comments. I don’t know if it’s because knowledge of weaving in general is fading or because it’s hard for people to view woven objects as art. Either way, they are baffled. At first I found it a bit frustrating, but I now see it as an opportunity to create a moment of wonder for someone.

 

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

I love all of it. Not lying, every step has something I enjoy. The variety of doing something totally different each step of the way is one of the best bonuses weaving has. Keeps it exciting. The math of planning is a fun challenge and the potential of what the next project could be is exciting. I love the physicality of warping, turning on some music and getting into a rhythm. The focus required for threading is nice to settle my mind, and it’s the first step to see the warp come to life. Actually sitting down and weaving is pure magic, watching the pattern come together. Tying off ends and finishing is a nice change of scenery, and feels sculptural. All of it is a forced slow down that is so peaceful, and so worth paying attention to. So no least favorite.

My favorite though, is sitting at the loom weaving. It’s a great place to be and a wonderful way to spend time. When I sit and start weaving it’s just me and the loom and everything else drops away. It’s a good feeling. 

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 sell my work but it is not my main income. I also have a part time job on a local organic farm (that I love!!), and a few other odd jobs here and there. Put it all together and it works. I used to be very motivated by sales, following trends and making what I thought people wanted. Which did result in more sales but I was unsatisfied with the work I was producing, and it didn’t feel good. Weaving seems to come much easier and is more exciting ever since I started weaving for weaving's sake and not putting so much pressure on selling. I now make the things I want to and if they sell, that’s great! If they don’t, well hopefully eventually they will. It would be a dream to be busy enough to make a living weaving, but It’s been hard to find a consistent market for my work. I’m proud of what I’m putting out into the world, and that's more important to me, than pushing sales.

8. Where do you find inspiration?

I find inspiration mostly outdoors and in weaving itself. I love gardening and farming and what’s currently growing has a big say in what I’m thinking about. My color choices end up being somewhat seasonal. It could be what flowers are blooming, or the flavors coming out of the garden, a sunset (for the record, October and January have the best fire sunsets here in Virginia), or you know just the sky at any time of day, and the weather too.

My pattern choices at times can also be inspired by the garden. For example, I wrote out a peanut pattern after my first time growing peanuts (which is a fascinating plant, and if you don’t know anything about how they grow you should go give it a google). Mostly though my pattern inspiration comes from weaving. I get a lot of inspiration just flipping through pattern books. Imagining potential shapes and images is what really gets the ideas flowing.

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

Specifically, it may seem like an obvious choice, but Anni Albers. I’m inspired by her use of pattern and color and how she pushed the envelope of what weaving/s could be. I’m also inspired by her words and her desire to share her knowledge. She writes with a fascination for weaving that is infectious.

More generally I admire anyone who’s taken on the task of pursuing a craft. Whether it’s in textiles, wood, metal, clay, you name it. Someone who is passionate about creating by hand is amazing and I applaud you. Making with your hands requires time, attention to detail, patience, and focus. All characteristics I find admirable.

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

The role that weaving plays for me is much larger than a job or hobby, and it would be very hard to fully replace everything it provides. It’s become so connected to my sense of self and is like my therapy. I feel most at home when I’m creating, and it’s something I can’t help but do, if I could no longer weave I would have to create somehow. I’ve tried a lot of different creative outlets, and the one I’m most drawn to is ceramics. I’ve only had a little experience with it and I’d like to learn more. Plus I see a lot of similarities between it and weaving. There’s a big variety of styles and items to make with the medium, a multi-step process, some repetitive meditative motions, and a new set of muscle memories to learn. There’s also a certain “if I do x, y, or z what will the outcome be?” aspect that I like. Ceramics could definitely keep me busy for a while.