A conversation with Christine Brimer on Tension, Structure, and Space
We often view weaving through a romantic lens: the rhythmic clack of the loom and the quiet solitude of the studio. But for Christine, the practice is far more architectural. It centres on strict criteria for material choice, and interrogating the grid to build new cloth structures that articulate our relationship with the natural word.
We spoke to her about the behaviour of yarn in space, the complexity of "flow," and the deep lessons learned from off-loom traditions.
With loom weaving I have found my niche — the place where I belong and can contribute from.
An original body of work begins with researching a theme or a problem to be solved before designing and executing a response on the loom.
My most critical consideration is the behaviour of the yarn in finished cloth and in space. It is not just a purely tactile or visual experience. I have established very strict criteria for the undyed and natural yarns I use, driven by ethical and sustainability considerations. They are grown and processed entirely within Aotearoa (wool yarns) or are organic if using imported cellulosic yarns. I am interested in building cloth with dimensionality and form beyond the rectilinear plane, harnessing the fall of light to reveal movement and shadow. Consequently, most of my work is monochromatic, drawing from this small, defined yarn library; designing and executing each new work is a material-responsive process. If the work calls for colour I hand dye with botanical extracts.
[Auditory] On Rhythm There is a distinct "percussion" to a working studio, the beat of the loom and the throw of the shuttle. Do you view weaving as a rhythmic practice? Does that repetitive sound help you enter a state of focus or "flow"?
Yes, there is an inherent rhythm in selecting shaft sequences, throwing the shuttle, and beating the weft to the fell line of the cloth. The concentration required offers respite, drawing one in to focus fully on the now. This rhythm becomes more complex on treadle or dobby looms with the feet invited into the dance. Add in extra shuttles, for example, when weaving overshots or double cloths, and I begin to understand the pleasure and complexity of drumming, engaging each limb and every corner of my brain. In that state, I feel like a stage director or conductor, calling in different players for a time.
But there is so much more to weaving! After research, initial sampling, and design work, less than half the subsequent labor is at that rhythmic stage. Setting up a loom is an exacting process that I have come to love, specific to the yarns used and the desired cloth outcomes. You can't be a good weaver on a poorly warped loom.
I thrive on the challenge of seeking new possibilities while respecting the inherent constraints of yarn behaviour and the rectilinear grid fundamental to conventional loom weaving. However, I am very interested in disrupting this grid! I embrace the challenges of working out how to set up a loom in an unconventional way to direct and enable the yarns to interact with each other differently, to hero their true character in the cloth or object.
Research and planning a design response, sourcing and sampling yarns, warping and threading the loom, weaving, and finishing are all slow and exacting processes, and each stage is equally important. Patience, curiosity, observation, and accurate documentation are essential soft skills to bring to each project.
There is so much more to original, functional, and beautiful loom-woven cloth than the romantic image of a weaver seated at their loom throwing a shuttle. Hand loom weaving is definitely having a moment, but it is important that commentators understand and convey weaving as a much deeper and time intensive practice.
And I don't have a problem with production-woven cloth as long as waste is minimised, designers are credited, and there is no exploitation of people and planet.
Probably collaborations and co-design projects, where I have had wonderful mind- and process-expanding conversations, thinking through making and addressing a problem or concept in collaboration with a designer in another sphere. Such projects include "Ways of Water" and "Wayfarer - Cloth and Coat."
Weaving is my third child; it has taught me so much. When teaching, my goal is to convey both technical knowledge and discipline, but also the possibility of generating original work when observing and thinking deeply through making.
Many people privilege hand loom weaving over off-loom hand weaving practices... I think this has its origins in colonisation and global hegemonies. I have learnt so much about woven cloth, circular design, material responsive design, and lived values from conversations with off-loom weavers I have met in Aotearoa, Fiji and Vanuatu, where weaving has embraced these principles for thousands of years through a deep, respectful partnership with the natural world.
The Index
Studio Soundtrack: Silence, Radio, or Audiobooks? RNZ National and podcasts like Material Matters with Grant Gibson.
Preferred Texture: Crisp Linen or Soft Wool? "I can't answer that... it is like asking a parent who their favourite child is!"
Morning Ritual: Coffee or Tea? Tea on waking, coffee before lunch to kick into gear.
Creative Hour:Early morning or late night? Both. “1:00 am till 4:00 am”
Learn more about Christine Brimer and Niche Textile Studio from here.
Image Credits
Image 01, 04 — Russell Kleyn
Image 02, 03 — Christine Brimer
Image 05, 09 — Steven Junil Park
Image 06, 07 — Olivia Melhop
Image 08 — April Brimer
Image 09 — Steven Junil Park