Kate Whitehead

Name: Kate Whitehead

Studio location: Manchester, UK

Website / social links: kate-whitehead.co.uk, @_katewhitehead

Loom type or tool preference: Louet Megardo Loom

Years weaving: 9

Fiber inclination: salvaged natural yarns

Current favorite weaving book: Anni Albers

 

 

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

I discovered weaving during the first year of my degree in Contemporary Surface Design and Textiles at Bradford School of Arts. The Art School library, textile archive, weave technician, my background in art and creative eye are my greatest resource.

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?

  As an adoptee I had to work hard at my creative identity. I left school with very little but fortunately my mum knew I was creative and suggested that I went to do a foundation in art and design. Then over the years I went on to study:

Jewellery Through Art and Design 

British Display Society Technician certificate

Contemporary Surface Design and Textiles 

University of the Arts London Central Saint Martins - Dual City Istanbul & London Print & Weave

In 2016 I was selected by Crafts Council Uk for Hothouse 2016. Hothouse is the Crafts Council's programme of creative and business development opportunities. It is delivered over six months for talented makers at the start of their career. The hothouse programme gave me the opportunity to define my textile practice and identity.

3. Describe your first experience with weaving.

My first experience of weaving was on a table top loom during the first year of my textile degree. I had a strong connection with it, with the physical rhythm and sense of calm the perfect space for the soul to settle.

Connecting head, hands and heart a well-being web that I was instantly addicted too.

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 weaving process is very organic, I don’t use specific structures or patterns. I collect natural yarns on trips and travels in markets, flea markets and brocantes, the more worn, faded and story-laden the better and giving them a second chance, using natural dyes, Indigo and Madder to add colour. My process is considered, thoughtful, ethereal and delicate. My rebellion is to go back to slower processes, embrace tradition, salvage the discarded, fix the broken.

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

My hand-woven collections are created around a narrative, I use what I am feeling at that time to influence my work. Taking my emotions and transferring it into cloth, I find it very therapeutic. These pieces often bring the audience to share their stories too. Creating a community of expression.

 

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

My favourite part of weaving is just after the beginning, when the tension is right and I’m in the groove. Transferring my thoughts into the warp. The rhythm of the movement is mesmerising, giving time for reflection. Thread by thread made with love. 

Finishing the piece when it is off the loom is my least favourite part of the weaving process. Sewing in the ends, knotting and fringing, but at the same time in awe of the  charm of the hand-woven and handmade in that each piece is unique.

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 sell my work when I exhibit. Also from collaborations with other artists and designers, alongside teaching hand weave and natural dye workshops in the Uk, France and Morocco.

8. Where do you find inspiration?

I find inspiration as soon as I step out of my front door, especially when traveling. Using my camera to take snap happy photos to record what ever catches my eye, alongside the emotions that am experiencing at that moment.

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

I admire artists who have a strong identity and a rebellion to the mainstream. Christopher Nemeth, Junko Oki and Jean-Michel Basquiat are three of my favourites, their work really resonates with me. 

I find if I am unsure of my practice at anytime if I refer to them they remind me to believe in my individuality and not to compare to others. I love beautifully photographed books that I have at home, especially  ETC. by Sibella Court, wabi Sabi for artists, designers, poets & philosophers and Boro rags and tatters from the far North of Japan.

Also local artisans in street markets when I travel, often I get the chance to skill swap which is a very humbling experience.

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

If I could no longer weave I would use photography, print and stitch.

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

I currently have an AA2a artists residency at Bradford School of Art, where I am creating a hand-woven collection to exhibit and to share my textile practice with the students. And an exhibition of new work next year either inside or outside depending on the Covid19 situation.