Lizzie Kimbley

Name: Lizzie Kimbley

Studio location: Norwich, UK

Website / social links: lizziekimbley.com, @lizziekimbley

Loom type or tool preference: Currently a 16 shaft Harris table loom

Years weaving: 5

Fiber inclination: Wool, linen, hemp and paper yarns

Current favorite weaving book: Radical Matter: Rethinking Materials for a Sustainable Future by Kate Franklin and Caroline Till. It’s not a weaving book, but a fascinating book I return to often.

 

 

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

I discovered weaving at university. I started my textile design degree thinking I was going to spend my time printing and stitching, however once I started weaving I was hooked. I loved the process of weave and the endless possibilities offered when designing cloth from scratch. My greatest resource were my tutors and technicians who were incredibly inspiring and encouraging. Visiting exhibitions and archives was, and still is, a great 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?

Sometimes I think of myself as a textile designer, sometimes an artist, sometimes a maker. I’m beginning to see that this is fluid rather than set in stone and often dependent on the project I’m working on at the time.

3. Describe your first experience with weaving.

In our weave induction we worked in pairs to design and make a warp, and then dress the loom. We were so slow! But I learnt so much. I found that I loved the physicality of weaving, the movement and the rhythm. I also love the element of making with my hands, that by the time the loom is set-up I’ve touched every inch of the warp several times over. There’s a real connection to the materials.

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?

Place has become an important part of my work so I usually start by walking and getting to know a place. I gather inspiration, take photos and make drawings. I also look for found objects, materials and plant dyes that can be gathered while I walk. I find making a mood-board really helps to clarify my ideas and build a narrative for the work. I love experimenting with different materials, both on and off the loom, and find that an element of play works well when trying out ideas. I’m always thinking, ‘what happens if…?’ I enjoy using natural yarns and materials especially linen, paper and wool.

 

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

Within my work I explore responsible design and the value we attach to materials and objects. I’m concerned with the lifecycle of materials and how we can design and create to keep materials in use. I work with natural materials, often those that are locally found or a waste product of another design process, to create work that can be recycled or will biodegrade so no trace is left behind.

My work celebrates the beauty of nature and the materials found there. Inspired by place and walking, I gather locally found materials and plant dyes to create work that speaks of the landscape. Knowing a place and becoming familiar with its plants and seasons, gathering materials and processing them leads to a greater connection with materials and how we use and value them. I also enjoy the similarities between walking and weaving; how the movement and slow pace within walking are echoed in the repetition and rhythms of the weaving process making both mindful and meditative practices.

 

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

I love almost every part of the weaving process. I love the planning and thinking through different possibilities. I enjoy the rhythm you fall into while making a warp. I even like winding on and threading up, but usually have a good podcast or audiobook on the go. My least favourite part is tying on as I always seem to be tying and untying to get the tension just right.

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 show and sell my work. I’m still building up to making a living from weaving. I work on commissions, freelance work and also work on exhibitions and projects. Last year I was fortunate to be selected to work on a year-long project called ‘Woven Waters’ based on and around the Broads National Park. It was a wonderful opportunity to work from and respond to a place that I love spending time in. I enjoy the challenge of responding to briefs for projects as they can often lead to new ways of working, and it’s a great way to push me out of my comfort zone. I'm also planning some weave and natural dye workshops for next year.

8. Where do you find inspiration?

I love walking and I always take notice of what’s around me. Even my daily dog walks where changes in the weather or the light can make me see something different to the hundreds of other times I’ve walked the route, like the reflections of crop stubble when the fields are waterlogged after heavy rain. I love these unexpected encounters. I’m drawn to structure and grids so often find inspiration in buildings and architecture, but equally love the patterns found in fields or the line of a path. I’m also inspired by textures like the rust patterns on an old boat shed or the delicacy of a cow parsley flower. Often it’s the materials themselves that inspire me. Experimenting with found materials or waste from another design process can lead to new ideas. Visiting libraries, galleries and archives is another great source of inspiration.

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

I love the work of artist and basketmaker Tim Johnson. His experimental approach to materials and in-depth knowledge of different techniques is inspiring. The work of Hiroko Takeda is beautiful. I love her aesthetic and her use of materials is really exciting. And of course, Anni Albers. It was wonderful to see her work at the Tate Modern in London last year.

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

I can’t imagine not weaving, but if I could no longer weave then I’d make work using other textile processes like stitch or basketry techniques.

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

I'm one of 6 artists currently exhibiting in Woven Waters at Norwich Cathedral Hostry, UK until 19th January 2020.

photo credits: Juju Vail, Denisa Ilse and Lizzie Kimbley.