Vicky Cowin
Name: Vicky Cowin
Studio location: Cockpit Arts Studios, London, England
Website / social links: vickycowin.co.uk, @vickycowin
Loom type or tool preference: ArmTouch 60 and Leclerc Weavebird both are compu dobby looms with 24 shaft
Years weaving: 6
Fiber inclination: Lambswool, silk, boucle fine metallic threads and vintage yarns
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 had been fascinated by weaving and looms for a while and always wanted to learn. A few years ago after being made redundant, again, I applied to university as a mature student. I was introduced to weaving in my first year on a small four shaft table loom and was hooked. My greatest resources were the amazing teachers at The Cass School of Architecture and Design in Aldgate, London. The books I found useful as a beginner were GH Oelsners A Handbook of Weaves and Falcots Weave Compendium.
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 see myself as a combination of these, I design and weave all my work and have art pieces such as Talismans as well as cushions and throws. If someone asks I tend to say “I’m a weaver”, though I’m not attached to any of these definitions.
3. Describe your first experience with weaving.
The first time I wove on a table loom in my first year at uni, I was fascinated with the rhythm of the loom as well as the rhythm of the patterns. I knew immediately that I wanted to do more and thought about it all the time. It blew my mind and made so much sense to 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?
I start with photos and clippings then my own drawings, I look at texture and create colour studies. I then work out how I can weave the shapes and lines I have drawn or painted. I love technical warps, I can be so immersed in designing a new warp, I think I might like it just as much as weaving. Once the warp is on I then design various weave structures until I am happy with the outcome.
I often work with a structure called supplementary warp, as I find that I can draw and paint with the yarn and the loom, I also use a handwoven velvet technique. In my final year at university I wove with a triple warp.
I tend to use silk and wool, often resist dying the yarn myself. I like to weave with textured yarns such as boucle, Sometimes I introduce a metallic yarn to change the handle of the cloth. I also like using vintage yarns and thread and enjoy rummaging through market stalls for these.
5. What is your favorite part of the weaving process and why? What’s your least favorite?
My favorite part is the weaving itself seeing the fabric grow one a line at a time. I also enjoy planning the warp and the structure. My least favorite is threading the ends through the heddles, but I soon accept thats what I will be doing for a few days and find space and quiet within these moments. Weaving is slow but for everything you put in you are rewarded with the action of weaving and the joy of taking the finished piece of the loom.
6. 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?
In 2017 I won an award from the The Clothworkers Company and Cockpitt Arts Studios whereby I get support with the rent of my studio and access to looms for two years. Cockpit Arts is a creative business incubator. I have a business coach and access to workshops on running a creative business as part of the award. This has supported me to start and develop my business. I have sold my work for the last year and make work to commission. However, I still need to work part time. I can put certain pressures on myself to achieve certain things, realistically I am aware that it takes time to earn a living from a creative practice so I’m grateful that I have the opportunity through the award to have a studio, a loom and time to weave.
7. Where do you find inspiration?
I find inspiration in symbols and talismans, alchemy, unspoken communications, folk traditions and buried beliefs and superstitions. Along with the everyday of being in London, the colors and graffiti also guides me as well as a walk in more rural areas which gives me the open space to think.
8. What other creatives do you admire – weavers, artists, entrepreneurs – and why?
There are so many people who I admire but I’ll keep it short with Anni Albers for pushing the boundaries of art, craft and design. Paul Klee for his use of color and Agnes Martin for the minimalism and space in her work.
9. If you could no longer weave, what would you do instead?
Pottery, I would love to learn to throw pots.
Do you have any upcoming exhibits, talks, or events the community should know about?
Cockpits Arts Open Studios in Deptford, London 12-14 June 2020. For other events please see my Instagram or website.
photo credits: Frozen Music Photography, Jamie Trounce, Ariane Fourquier and Vicky Cowin.
