Zanny Cox

Name: Zanny Cox

Studio location: Austin, TX

Website / social links: zannyadornments.com, @zannyadornments

Loom type or tool preference: Navajo Style loom, Hand built tapestry loom, Granddaddy Floor Loom (an antique rug loom I fully restored)

Years weaving: 6+

Fiber inclination: Navajo Churro Wool, any small farm raised wool, raw silk, plant fibers

Current favorite weaving book: The Weaving, Spinning, and Dyeing Book by Rachel Brown

 

 

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

I was 6, maybe 7 years old when I saw my first loom (a bead weaving loom) in a saddle repair shop. I would spend my afternoons annoying the old cowboy who was repairing my, new to me, saddle. There was still a project on the loom and I was fascinated by the bead patterns and the tight warp string, I remember the warp was a black string. I ended up making my own cardboard version and made several woven beaded projects throughout childhood. My greatest resource was practice.

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?

General Creative/Artist. I dabble in many mediums, in particular metalsmithing and weaving. I love the juxtaposition of materials. Metal and fire. Wood and fiber. I’d like to eventually get into blacksmithing and woodworking. I want to learn it all. It’s not necessarily an important definition to me. In fact, it took me a bit to own the title of “artist”. But each year I feel more confident saying it.

3. Describe your first experience with weaving.

The lightbulb went off, if you follow me. I bought myself a ticket to a tapestry weaving class for my birthday. We used a handmade loom (a picture frame) similar to the cardboard loom I fashioned for my bead weaving projects. I realized I had always possessed the knowledge of weaving; only I was used to weaving with beads and on a much smaller scale. Once I learned to translate that understanding into textile weaving I was hooked. I went to a yarn shop the very same day and the rest is history!

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?

It’s very much a meditative practice for me. I process so much of what is going on in my head through weaving. I’d say I have bursts of inspiration where I weave little collections that might tell a story, or convey some emotions I am working through. My work is very reflective of my Mexican heritage. I use a lot of natural colors you might find in the desert. The Southwest and Mexico speak to me in ways I like to translate into a tapestry. I fancy the efficiency and speed at which you can weave on a floor loom, but to me, nothing beats the visual element of working on a Navajo Style Loom.

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

I feel as if I tap into some biological memory when weaving. My Mexican ancestors were weavers. The town in Mexico where my family is from is actually famous for their woven sarapes and was a big textile trading hub in the 1700-1800s. Their style of weaving originated as a blend of Native American and European techniques. Which is quite similar to the way I weave. I incorporate a bit of Mexican, Navajo, and French methods into my woven work. For me it’s important to connect to my cultural heritage and honor my ancestors through my artwork.

 

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

That depends on which loom I am working on. If it’s my tapestry looms I much enjoy the warping process, whereas not so much with my floor loom. However, I relish in the shuttle throwing on Granddaddy Floor Loom more than the tedious approach of tapestry weaving. My least favorite part is finishing and tying all the knots.

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, but I always say my “bread and butter” comes from teaching. That allows me the freedom to create without the pressure to sell my artwork. Up until this year, I have mostly wove things for my own enjoyment and feel rather grateful when my body of work resonates with someone. 

I have been fortunate enough to develop relationships with many studios+workshops and I teach Weaving all throughout Texas. I did not think I would enjoy teaching as much as I do. Something about inspiring new weavers and watching their confidence grow with each weft row is so rewarding to me. I also give weaving demonstrations at certain community events. I’ll set up a Community Loom in which all ages, races, genders, etc are able to sit in stillness and weave, at no cost. I like sharing this craft with the people. In a way, each of our ancestors were weavers and to be able to experience that universal knowledge is priceless.

8. Where do you find inspiration?

The art community. My family, especially my lively children. I have two boys who are curious about my weaving and also my biggest critics, kids are so honest in that way. I ask them their opinion about every piece I pull off the loom. Traveling and exploring always give me a different perspective in which I see the world and I can’t help but want to weave that vision. I suppose it’s odd to say this, but I find inspiration in sadness and pain. I have noticed some of my best pieces came from a time when I was very sad.

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

Rachel Brown for writing, in my opinion, the weaving bible. It was my best resource when I first started weaving textiles. I still refer to that book to this day. Evelyn Ackerman for her folky+mid century modern approach to textile design. Studying her work helped me not take myself so seriously and have fun with shapes. Erin M. Riley, that girl’s tapestry work is amazing. I can’t believe she captures such detail in her wovens. I’m planning on taking a class from her in the near future.

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

Definitely jewelry making. I take breaks from weaving and thrust myself into the fast pace of silversmithing. Then when I need a bit of downtime I’ll sit at the loom. I think it’s important to always be open to learning and trying new things.