weaving
Henrietta Dent
Please tell us a bit about yourself.
Hello, my name is Henrietta and I am a woven textile maker based in London. My work overlaps the boundaries between fine art and craft, with a conscious design method inspired by thoughtfully sourced materials from which I craft and construct a journey of transformation through processing techniques. My practice is based on the idea of thrift which is defined as ‘the quality of using resources carefully and not wastefully’. Last summer, I graduated from the Royal College of Art with an MA in Textiles. Since then, I have moved into a shared studio space in Dalston which is going to allow me to continue to weave one-of-a-kind pieces and collaborate with other makers.
When was your moment of revelation that textile was a form that you would like to explore?
I have always been a very detail-orientated person. I think this comes from my grandma Joyce, who used to create needlepoint tapestries and paint on silk scarves. As a child, I would also observe my mother painting on porcelain. They both used to collect and create intricate objects, so I suppose being surrounded by these women and their artistic endeavours has influenced me massively. When I was growing up Textiles as a subject was unheard of to me. But during Sixth Form it was part of my curriculum and I was intrigued by this niche subject, so I started to experiment with very basic making techniques. Then during my Art Foundation I became fully aware that I could pursue Textiles at a higher level and that’s exactly what I did.
How do think that tWhat are the early experiences that shaped your art?he places, people, and textile traditions where you grew up, are now manifesting in your art?
Towards the end of my undergrad, I started to collect fabric scraps from the fashion department to weave with. I also took part in beach and river clean-ups in Sri Lanka, which made me question attitudes toward waste as I could see how it was affecting the natural environment. In search of a solution, I wanted to develop these aspects of my work further so when I applied to the MA at the Royal College of Art, I was able to raise questions about how these approaches could inform my practice and consider new methods to source and use materials responsibly.
We know that you are repurposing textiles for your pieces. Can you please share your thoughts on why it is so important to create more consciously and stop perpetuating key issues?
As we know there is a massive issue with the Textile industry, but as we are removed from production processes which predominantly take place behind closed doors, we lack the connection or relationship to a material’s value. I believe that the industry needs to become more transparent, and there needs to be a better education system around this subject. To stop perpetuating key issues, we need to think about tackling the small changes that can be made through our actions, which in turn will be more impactful. To reduce our impact we need to shift our mindset to buy less, more thoughtfully and consider what materials are being used, where they came from, who may be making them, or whether something can be repurposed. Although it is difficult to tackle every single milestone of sustainability I don’t mean to say that we have to manage all of these aspects, but personally, I focused on where I felt I could best intervene.
What are the processes and the thinking behind your designs?
The process behind my work often begins with finding the potential for leftover materials to live on in new ways. Once I receive the palette of salvaged yarns from British mills, I arrange and reform them into something new, this is approached through collage and drawing, weaving on the loom and then working off the loom. I find the combination of colour and form manifests a series of artefacts influenced by working with the leftovers, and piecing together their proportional and compositional elements which enhance their tactility, translucency and scale. Behind my designs, I actually wish to speak up for the current zeitgeist of our fast-paced lifestyles and the waste issues that come alongside this by providing an intervention between textile waste to shine a light on its unseen potential.
What and who inspires you?
Wabi-sabi is a Japanese saying centred on a worldview that accepts transience and imperfection which echoes how I piece together my surroundings and materials. My inspirations have also looked at the unpredictable rhythms that can be found in bricolage and patchwork. Another big inspiration of mine is the work of Ruth Asawa who created wire sculptures inspired by natural forms. I also love the multidisciplinary approach of researcher Hella Jongerius who explores colour and its effects in Textiles, Ceramics and Installation.
Tell us about your Zoffany Visual Arts Award, and your participation in the Bio-Inspired Textiles research program.
Zoffany is a luxury interior brand that specialises in fabric and wallpaper. I applied as they were looking for those interested in interiors, and was extremely grateful to receive their Visual Arts Award Sponsorship which supported me through the funding of my final project at the RCA. Bio-Inspired Textiles is a PhD research project led by Dr Veronica Kapsali, the programme focuses on how design can learn from nature by focusing on biological structures. Although I enjoyed participating in this research and working collaboratively, this concept did not follow my practice directly. However, it made me consider how design with nature at the forefront can create more sustainable outcomes.
How important has your practice been for your well-being and mental health?
Crafts are very important for health and well-being as they promote mindfulness. Personally, weaving clears my mind, the process is very rhythmical and slow but also methodical. The preparation involves working out an equation of yarns, where, as you weave you focus on each individual thread, its movement and undulation. The process allows me to relax, reflect and deeply connect to the process. So when I weave I feel most at ease, inspired by the rhythm which has found a place in my making.
What is your greatest ambition now, when it comes to your practice?
My current ambition is to develop more artworks and collaborate with other artists and makers. But I would say that my greatest ambition as a whole is to give more value to Textiles and encourage more circular thinking and processing. There is a need for a better understanding of how things are made to give them more value, so I hope through my work that I can engage new audiences to consider these aspects.
Where and how can people engage more with your work?
The best way to engage with my work is through my Instagram @henweaves. But I’m thinking about running an open studio and collaborative workshops in the future, so stay connected with me on my socials. Pictures made by Betty Oxlade-Martin.
