Laura Foster Nicholson

Name: Laura Foster Nicholson

Pronouns: She / Her

Studio location:  New Harmony, IN

Website / social links: lfntextiles.com , @laurafosternicholson

Loom type or tool preference: Macomber

Years weaving: 50!

Fiber inclination: wool, cotton, some metallics

Contact information for commissions and collaborations: email address

 

 

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

I was a student at Kansas City Art Institute. I had entered the school with a strong preference for drawing. But as I had sewn for many years, I was drawn to the new Fiber department instead, with no idea where it would lead me. Weaving seemed so complicated! But our first project was weft-faced tapestry, and I was hooked.

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 am a fine art weaver. It requires craftsmanship to perform what I do, and I respond to pattern design strongly. I have done a fair amount of textile design over the years in addition to my art weaving, but if I were to choose a label it would be Artist.

3. Describe your first experience with weaving.

I was intimidated with the complexity of the loom at the beginning, but weaving was required, so I went ahead and tried it. I am sure I wove a few samples, but I remember my first actual tapestry weaving was a big conch shell. Quite complex for the first “art” piece!

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?

I learned early on in a pattern design class about the work of William Morris in terms of pictorial space when working with textiles. This has been a motivational force in choice of subject to composition ever since. I have long since given up doing much preliminary drawing except a general compositional sketch, preferring to work instinctively from the bottom to the top. As I use an inlay process to make my images, I restrict myself to the grounding horizontal weft shot, and make up my work row by row.

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

I always have a motivating concept, and usually make series of artworks exploring  a subject. My concepts have ranged from early figurative work, through the exploration of gardens and architecture, sometimes choosing subjects like wildflowers, which are difficult to render in weaving; most recently, I have produced three bodies of work about climate change. I have to invent forms which are both faithful to the subject and to the process of weaving.

 

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

Weaving itself is wonderfully meditative for the most part, as I go back and forth between immediate problem solving and then just the fascination of working things out. Sometimes I hate warping the loom, other times I love it as it is an early time to imagine further what I will make. Winding the warp in and of itself is very compelling in choosing and ordering the colors, as the warp stripes are structural to the image. 

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?

For most of my career I have made my living by selling my woven artwork through galleries. I have twice supplemented my income with adjunct teaching of weaving, but prefer to just do exactly what I want in my studio.  I have kept a rigorous schedule for many years, even while raising my children and working at home.  I have been fortunate to live in cities with terrific galleries, and to show my work at galleries around the country. The gallery system is essential to my success.

8. Where do you find inspiration?

Other textiles; beautiful places; gardens; architecture, including everyday buildings; landscape.  And sometimes the news, which focused me on the climate change pieces.

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

I admire all sorts of artists but am particularly drawn to ceramics: something I cannot personally do! I have also admired teachers I have worked with, in their tremendous capacity to read and help shape concepts. I still think about two of them in particular (Gerhardt Knodel at Cranbrook, and Pat Campbell at KCAI), who most helped to shape my vision by reading my work back to me. Oh yes, and Stephen Sidelinger at KCAI, who inspired me deeply with Arts and Craft movement textiles.

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

Hmmm. Draw, write, dream.

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

February 2024 I will have a solo show at Finlandia University in Michigan, as well as giving a workshop and lecture.