Rebecca Hiscock

Name: Rebecca Hiscock

Studio location: Norwich, UK

Website / social links: rebeccahiscock.com, @rebeccahiscockdesign

Loom type or tool preference: I currently have an 8 shaft Harris Loom, but loved working on and am wishing for a 32 shaft Louet Megado digital loom

Years weaving: 4

Fiber inclination: Bamboo

Current favorite weaving book: Woven Textile Design by Jan Shenton

 

 

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

I found weaving officially when I was introduced to weaving looms at university, and from then I was converted! My greatest resource as a beginner was my technician, David. He taught me everything I needed to get me started – I am forever grateful.

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 used to describe myself as a designer, because I was inspired by design, architecture and modern art. However, I believe that I am an artist too because weaving is an art (no matter how cliché that sounds) and it’s important for me that that isn’t forgotten. To sum up, I would call myself a Fibre Artist & Designer. It’s important to me to know where I sit in this world, but I believe this can change. The only thing that won’t change is the fact that I am a weaver!

3. Describe your first experience with weaving.

My first ever experience was when I was around 6 years old. My parents took me to Scotland and I was given a tour of a tartan mill where weaving was demonstrated.

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 first look at what I’m inspired by, whether that is an artist or a concept. From there, I then use print making techniques (Lino-print usually) and play with colour, shape and texture (that is a really important part, because that’s where I can see what my weave can initially look like). After this, I plan my weave setup on Illustrator. This helps me to be free (and best of all...quick) at designing a weave. After this, I then choose the yarn that best shows off the textures/colours that I made in my prints (the fibres must be as sustainable as possible). Yarn wrappings can help with decision making. Finally, I calculate my yarn amounts and then get weaving.

 

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

When I first graduated I wasn’t sure whether I needed a conceptual idea, however when I started working in a commercial setting I quickly realized how important it was to me. Most of my learning in education was based in a Fine Art setting and from this, I felt like I really needed a concept for my work to have a greater purpose. Now – I base pretty much all my weaves around a meaning or concept. It makes them more valuable to me.  

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

My favourite part is tying the warp to the front apron because for some reason it feels really satisfying! My least favourite is probably calculating the yarn and any maths in general (dyslexia makes things tough!). 

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 am involved with exhibitions. Because I am quite new to the process I need to gain confidence because sometimes I doubt myself. It can sometimes be difficult finding work to keep me full time, so I have a part time job along side this at present to keep me afloat.  

8. Where do you find inspiration?

I love architecture. I believe that buildings tell stories about community as well as design and I am really interested by our relationships with place.

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

I am so inspired by the Albers couple (Anni & Josef) because of their conceptual ideas and use of colour – I find it so inspiring. I find Florence Poppy and Clarice Brown’s work particularly intriguing because of their use of colour and conversational print ideas. I also find Meg Stavaru’s work great because of her relationship with place that is woven into her samples.

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

I would cry. And then probably teach!

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

I currently am involved with one online exhibition (online due to the current Covid-19 outbreak).