A couple of posts ago I posted the interview questions kindly answered by Louise Stebbings, the second instalment involves a weaver friend of mine, Melanie Venes.
Melanie has been a weaver for 35 years and a weaving teacher for 40 years. She is incredibly experienced and this is what she had to say.
How long have you had
a career as a weaver/teacher?
40 years teaching, 35 years weaving, 25 years teaching
weaving.
When did you first
realise your passion for weaving and how did you discover it originally?
When I was doing A-levels at
school we had an assortment of classes to fill in gaps in the timetable. I was
studying needlework & cookery (known at the time as Domestic Science or Home
Economics). I understood cloth, so weaving was an obvious choice, especially
set against car mechanics or drama. Also, at the time there were local woollen
mills and lots of sheep, so I think I was already interested in the process,
probably by osmosis.
How did you start off
working straight out of college, and then what changed (if any) to make you self
employed?
I went directly from teacher
training college in 1972 to teach needlework & art in a secondary school.
Got sidetracked into special needs (then called ‘remedial education’) so after
3 years moved to a middle school (8 – 12 year olds) to work with ‘under
achievers’. Having learned more about weaving through magazines & the
London guild, I used weaving and art in the classroom so I changed to part-time
teaching in 1981 in order to attend courses. Along the way I picked up Adult
Ed. Classes as well as the teaching at Handweaver’s Studio (at one point I was
teaching 2 morning, 1 afternoon and 1 evening class plus 3 days a week in a junior school. If there
was a course at Handweaver’s as well I’d work 14 days without a break). I resigned
from the school in 1995 but continued teaching weaving classes, so I was still
an employee until August 2000 when we moved to Norfolk. I became self employed so
that I could sell my work as well as teach at home.
Was weaving something
you always wanted to do, or was it found through another medium?
I suppose it developed out of sewing skills, but it did seem
to come naturally.
Where do you take your
inspiration from?
Everywhere! My strongest sense is
visual; I have a good visual memory and an interest in surfaces, so that covers
colour and texture. I have a great collection of found objects – rusty metal,
shells, seed heads, bones – I’ll pick up anything. I love dramatic skies,
peeling paint, dried mud and the traces left by the passage of time or people.
I also like made objects – particularly, pots, baskets and textiles.
What qualifications
have you gained and have they been useful?
I have Certificate of
Education (from the days before teaching was an all graduate profession) and the
Bradford Diploma in Handloom Weaving.
Both have helped me earn a living.
Only the teacher’s certificate
would be considered a recognised qualification, though it wouldn’t help me get
a job now. However, I consider the weaving diploma to have been the better
educational experience,
What have you learned
from being in business that qualifications did not include?
Neither of my qualifications addressed any aspect of being
in business, so I can’t blame them for my mistakes!
Do you take part in
any exhibitions and if so where and why – what do you gain from doing so; if
not is there a reason you don’t take part?
I do take part sometimes.
Usually London Guild WSD, occasionally the Association of Guilds and have been
invited for site specific exhibitions such as Salthouse Church. I only submit
work I feel is exhibition quality, or has something different to say/show. The
Salthouse exhibition ‘Light and Space’ is a good example. I had to work hard
developing the initial concept, submitted a proposal which was accepted, then
had to make the piece. It was a leap of faith for both myself and the curator,
but in that instance it worked and was probably the most successful ‘art’
textile I have made. I enjoy working to
a set theme, but if I don’t have a strong concept, or sufficient time I won’t
submit anything. I will not rummage in the back of a cupboard to find a piece
of work that will ‘do’.
Do you attend any form of an artists group and if so which and again
what do you gain from attendance?
I used to belong to a group
organised by the Crafts Council many years ago. I gained a valuable insight
into the wider world of craftsmanship at that time - sometimes challenging, but
always stimulating. I miss that. A group that I joined here in Norfolk was a
poor substitute.
I don’t think of the Norfolk
weaving group in quite the same way. It is very stimulating and sometimes
challenging, but the focus is on the projects and interests of a small number
of people, so by nature the group is more introspective.
For someone starting
out in a career in arts, what advice would you give?
It’s a big world out there keep your eyes and ears open,
ask questions.
Never pass up an opportunity.
What future plans do
you have for yourself and your work?
I’m currently building up my
stock for the fair at Wolterton in September. I’m also developing some ideas
with a gallery owner. I will be scaling back my teaching from next year, so I
hope to spend more time at the loom. There are a lot of weave structures that I
haven’t got around to yet, probably because I still get great pleasure out of
weaving very simple fabrics. I would like to try my hand at sampling for the
industry, most likely interiors rather than apparel, though a friend has just
moved into a job in Saville Row, so you never know.
This concludes Melanie's interview questions, I shall be posting again soon.
Meghan
