weaving
Jessica Mason
Please tell us a bit about yourself.
I’m Lara, a textile artist, designer and hand weaver. I completed my degree in textile design at Central Saint Martins in 2022 and have been working out of my studio in South East London since then. My work takes diverse forms and outcomes, but it all centres around the craft of weaving; whether it's creating one off woven artworks, large scale installations or functional cloth etc.
What first led you to textiles and why did you specifically turn your attention to weaving?
My path into textiles came a little later in life, I was initially on a fairly academic trajectory. I don't come from a very creative background, there was no real interest in arts & crafts in my family. But, around the age of 17, I made the decision to leave school and enrol in an art and design course at a college in London. I didn’t have a specific interest in textiles initially, but throughout the two years on the course my work seemed to keep falling into that category. Whilst at college I experimented with lots of different techniques and worked primarily on large scale textile installations using found materials. After leaving college I began my BA at Central Saint Martins.
The textile course at CSM covers knit, print and weave. I was already familiar with knit, so I assumed that would be my focus during my studies. However, as soon as I tried my hand at weaving, I became obsessed. I was fascinated by its technical complexities and time heavy processes. I instantly loved the idea of subverting the technical boundaries of the craft; it took time to solve problems yet you could still get these beautiful accidental unexpected moments. From that moment, I knew I was a weaver.
Where did you grow up? How do you think that these places, people, and textile traditions are now manifesting in your art?
It's a bit of a mix, really. I was born in Switzerland but my mum is Irish and my dad is British/Australian. My younger years involved a lot of moving around due to my dad's work. It was a few years in Switzerland, a few in the Middle East and a bit of time in Australia before settling down in the UK. Much of my early work actually explored that concept of displacement. Textiles often have strong roots in identity and heritage, but because I didn’t have any particular ties to just one place I felt a little disconnected. However, now I feel really lucky to have seen so much of the world, and I can pull from those different experiences in my work.
Interestingly, despite not living there for long, I seem to always come back to traditional Swiss crafts as a reference point. In particular, I love Swiss découpage (paper-cutting). My final degree project at University was all about storytelling through textiles, and I loved the idea of subverting the traditional narrative craft with contemporary stories. My own paper cutouts depicted friends at the pub as opposed to cows in the alps. It was a fun
Could you tell us about your craft and how it has evolved over the years?
I'm definitely still in a state of evolution. With something like weaving, you’re always learning how to better your skill and techniques; it’s incredibly rewarding. The biggest change for me has probably been learning the value of my work. When I first started out I was very focused on creating an end product or piece, always looking towards the finish line. Now, I just try to enjoy the process and trust myself.
What is the process and the thinking behind your projects?
The themes of my work are ongoing; a continuous exploration of personal narratives and placemaking. My approach can be quite sporadic; I lack a fixed routine. Making my own work vs. commissioned work is really different. With my own practice, it's ongoing. Notes and photos fill my phone, lots of scribbles on scrap paper which I come back to when relevant. When working with others the process varies, usually starting out with conversation, sketches and mock ups, before moving on to sampling and materiality.
I tend to find that my best work happens with little planning. Ideally, I like to make intuitively at the loom. During a project I try to surround myself with relevant ideas and materials (pinned to the walls etc.), that way I can absorb the themes whilst weaving.
What and who inspires you?
Often my weaving is motivated by contemporary narratives and places. Sometimes the work is vividly literal and figurative, and at other times, it challenges the boundaries of abstraction, investigating how much can be stripped away whilst still retaining the essence of a theme, feeling, or story. I’m inspired by so many people and artworks, I really love folk art and many outsider artists, in particular I really like work that tells a story. An artist who I’ve discovered recently is Kris Chau, they use the most incredible colours and symbolism in their prints and paintings. Their work is bold and impactful yet playful and quite simple.
One of my favourite tapestries is by Gerhard Munthe, it’s called “Daughters of the Northern Lights”, and I just find it so peaceful, I could look at it for ages. I’m also very inspired by the great Anni Albers; an obvious choice for many weavers, her body of work is exceptional. Ultimately, it all stems from storytelling, placemaking and evoking feelings. My work often originates from documenting outings and thoughts, which then transforms into something different. That transition from a comprehensive story to just the distilled essence in a final piece is fascinating.
Tell us a bit more about the Clothworkers’ Award you received at Cockpit Studios, and the mentorship experience.
The Clothworkers' Company is a non-profit organisation, one of London’s original ‘Great Twelve’ livery companies. They fund and support opportunities, including the award I received after graduating. The award grants 3 weavers studio space for 2-3 years at Cockpit studios in Deptford, as well as access to looms and other equipment. I also get one to one mentoring and business advice, which is amazing.
The mentorship really helps ground me in the practical aspects of running a business. There’s so much that can be overlooked while immersed in creative work. It's very challenging to make a craft or art practice sustainable in London (or anywhere, really). Being at Cockpit studios itself is also just really inspiring. Full of loads of different makers working across a variety of crafts, it’s a great environment. They host open studios twice a year so if you are in the London area I would really recommend coming by!
How do you feel about working with your hands? Can you tell us more about the impact it has on your happiness and well-being?
Working with my hands is profoundly important to me. It's a rare source of pure and simple enjoyment. The slow, meditative act of weaving really contrasts with my usual pace of life. I’m generally quite a busy body so to sit quietly and connect with making is really essential for my mental health. Weaving also involves a lot of thinking time, especially during repetitive processes like warping and threading. Hours of contemplation make the process all-encompassing. It's a rewarding feeling to be absorbed both mentally and physically.
Also, I really adore having a tangible hands on skill, it feels amazing to take part in a craft that has spanned thousands of years.
Where do you think lies the biggest potential to preserve important local crafts in the contemporary context?
Exposure and education is crucial, and I've noticed a significant increase in it, especially since lockdown. Crafts have gained so much popularity on popular platforms like Instagram, which is amazing. Larger companies also seem to be recognising the value of craftsmanship and the growing appreciation for it. I think it’s becoming more evident that there are certain outcomes that can really only be achieved through that hands on connection. Community involvement is so important too. Engaging with people, hearing their stories, and creating something meaningful is so enriching. Textiles have significant cultural and personal importance - in what we wear, wrap ourselves in, and live amongst. Encouraging people to engage with and enjoy their local crafts will help preserve them far into the future hopefully! Also, your work at Crafters of Today is spot on, showcasing work and sparking conversation!
What upcoming projects make you excited right now?
I’m currently working on my largest commission to date, which is super exciting. I can’t share anything too specific but the final piece is for an interiors space and explores themes of place with a slightly historical lens. It’s been a fairly long term project with a steep learning curve, but we are looking to Spring 2024 for installation, so all will be revealed then.
I’ve also recently secured representation from a few galleries. The Contemporary Applied Arts gallery in Marylebone will be showcasing some of my work this year, which is really exciting. I’m also in the process of creating an exclusive series of artworks for a new contemporary gallery in Amsterdam. Lots of fun and exciting things in the works.
