How does a teapot curator in Norwich end up weaving textiles in Spain? 

My interest in Spain began when, as an undergraduate at Bristol University in 1989, I had the chance to research my dissertation in Galicia, northwest Spain.  Whilst there I saw several examples of peasant looms and hand-woven coverlets and, although at the time my interest was mainly ethnographical, I guess it awakened my interest.   I certainly loved this green and mountainous part of Spain from then onwards.  The change in career was a gradual process, really, but although the two careers seem very different there are connections.  Weaving and museums collection work both require meticulous attention to detail.   The challenge of museum work is often to interpret old objects meaningfully to today´s public.  In my textile work I find I am also bridges between the past and present, using old techniques and traditional materials to make relevant modern work.

What really inspired the change in career?

In 1995 I was extremely lucky to be awarded a fellowship to undertake a survey of peasant crafts in Galicia.  It was the opportunity of a lifetime and I spent seven wonderful months in the mountain villages interviewing and photographing the last generation of peasant craftsmen and women.   It was then I met some of the last weavers and found that their  textile tradition that was virtually undocumented.  It was this that originally inspired me to become a maker myself although initially it was more a desire to rescue a dying textile tradition.

How did you actually learn to make hand-woven textiles?

I learned the basics of weaving from weaver Luke Atkinson in Cumbria and textile design from Catalan art-weaver Francesca Pellissa in Barcelona.

I also had the privilege of learning one traditional technique directly from 80 year old Galician folk weaver, Elmerinda Espín - who was an excellent teacher.  In many respects, beyond the basics, however, I have been self-taught.  I think my education has been very important for me in this respect – given me basic tools for learning new skills enabling me to move from one career to another, and set up my own business outside the UK.

What textiles do you weave and how do you sell your work?

My textiles are largely one-off and limited edition pieces for interiors and for clothing – cushions, linen travel towels and so on.  I also have a changing selection of scarves and shawls and am beginning to work on art textile pieces.  My annual production is limited because each piece is time-intensive.

Is it possible to live as a European hand-weaver today

It is not easy but it is possible and I, like almost all weavers I know, combine making with tuition.  Hand-weaving is a very time-intensive craft and I, like most other Spanish hand-weavers need to sell either direct to clients or through quality craft galleries.  As such I currently sell direct from my workshop, through the Grapevine Gallery in Norwich (UK) and via my website.  I teach both in the UK and in Spain where my partner – basket maker Lluis Grau – and I offer a programme of craft actitities to guests staying at our holiday cottage - Casa dos Artesans. 

Do you still find time to continue with your craft research?

I am currently researching a traditional model of woollen shawl made in northern Spain in order to create a new, modern version.  The Anglo-Spanish Society in London is generously funding this research.  I also give illustrated textile lectures and write on textiles for magazines and textile journals.   So research and writing are still an integral part of my textile work.