Mariah Gaar

Name: Mariah Gaar

Studio location: Branson, MO

Website / social links: mariahgaar.com, @mariah_gaar

Loom type or tool preference: Leclerc Nilus 4 shaft jack loom, boat shuttles

Years weaving: 5

Fiber inclination: Alpaca / Linen

Current favorite weaving book:  Fashions From the Loom by Betty J. Beard

 

 

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

I discovered weaving while in college. The school I attended had a work/study program and I was assigned to a job at a historic grist mill that had a weaving studio attached. I remember being mesmerized on my first day, looking at all the looms and thinking "I really want to learn how to do this". I learned to weave from the other students - both loom weaving and basket weaving - and I was instantly hooked and completely obsessed. I changed my major and eventually graduated with a Studio Art degree and an emphasis in fibers and graphic design.

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?

In my experience, every 'creator' has moments where they question how to define what they do. The past few years I've been wrestling with that definition myself. I generally don't define my practice, and it can be hard to pin down because art and craft are so closely intertwined. That being said, I would consider myself a combination of artist/weaver, but I don't hold tightly to that definition because my role is always changing.

3. Describe your first experience with weaving.

When I first sat down at a loom, I felt so comfortable. It felt so right to start weaving. I think I was making something simple, a coaster, but I remember feeling the possibilities were endless and I knew I wanted to continue - wherever it took me.

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?

Once I have an idea, I have to immediately start working on it and it drives me crazy to not get going right away. I spend most evenings and weekends working on various projects. I have three floor looms, two of which I normally have going at the same time.  My creative process starts with a sketch, fiber sampling, and mapping out various color combinations. Then I start with preparing the warp and move on to setting up my loom. Finally, I weave like mad until its done and start over again.

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

I center my work around several overarching themes: like finding the balance between art and function, simplicity over complexity, etc. I try to stick to these narratives as much as possible.

 

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

I honestly love every stage of the weaving process, but I get most excited in the planning. I get excited to problem solve and figure out how everything is going to work. My least favorite would be the finishing. By the time a piece is off the loom and the fringe or washing is all that is left, I become a bit bored and my mind is already onto the next project.

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 and I've recently launched a website that has a variety of handwoven and hand tufted textiles. At this point I don't make a living from it, but being able to support myself is ideally the goal.  I created my website as an outlet for my creativity - my handwoven pieces were starting to build up and I wanted to put them into the hands of people who appreciate handcrafted textiles. However, I find it can be challenging to decide how I spend my weaving time, whether it's for myself or for my business.

8. Where do you find inspiration?

I let inspiration come on its own - I try not to force it, but as of late, I often find I am inspired by architecture: buildings, grids, sidewalks, and man-made objects.

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

Molly Haynes: I love her aesthetic and consistency, and her work is highly professional but very approachable. She uses weaving as a form of sculpture that really draws you in and makes you look closer.

Christabel Balfour: I admire her pursuit of tapestry weaving and I think she is one of the leaders in the modern tapestry movement, and she is a constant source of inspiration for me. Thoughtfulness and the simplistic form are always at the core of her work.

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

That is hard to imagine. Weaving is the one thing in my life that I know I was meant to be doing, but I do know there are a lot of different avenues I could pursue. Outside of my passion for weaving, I have an interest in pursuing a career in museum work.