Alicia Scardetta

Brooklyn based Alicia Scardetta brings a fresh approach to tapestry weaving with her pared back approach that highlights the warp rather than hiding it. This technique and the ensuing texture in colours that pop, brings a contemporary edge to her desirable work.

Where are you based and where do you work?

I grew up in San Antonio, Texas and moved to Brooklyn, for my undergraduate education and have lived here ever since. My studio is set up in my home here in Brooklyn.

What is your background in textiles?

I studied fine art drawing at Pratt. When I started preparing my BFA thesis, I found myself longing to take the line off the paper and into a physical, tactile structure. Fibre and thread felt like the most intuitive way to interpret a line. At the time, Pratt didn’t offer fibre or textile classes to fine art majors, so I sought out fibre opportunities outside of my coursework. I first interned at Dieu Donne Papermill in Manhattan, where I learned how to process flax fibre and cotton pulp into finished sheets of handmade paper. Then, through an internship at the Textile Arts Centre, I learned how to operate a treadle loom and weave tapestry. Later, I went on to teach tapestry at the Textile Arts Centre. I also went on to take workshops at both Haystack Mountain School of Crafts and Penland School of Crafts, these experiences shaped my work and exposed me to the magic of the artistic community.

How do you describe your work?

Most of my fibre work is constructed on frame looms, so I see my work as a form of tapestry weaving. I am interested in manipulating the many variables of weaving, exploring what can be produced when the warp and weft are challenged. Using vibrant colours, woven appendages, and negative space, each piece achieves a playful quality within the historical context of weaving and tapestry.

Can you talk us through how you create a piece?

I’m interested in exploring the structural variables of tapestry and experimenting with color in my work, so I usually start each piece with an overall structure in mind and color palette. From there I may make sketches of what I want the finished piece to look like or create some color studies. When creating a commission for a client, it’s a similar process. We decide on the overall size and structures and then I create digital mock-ups where we finalize color palettes together.

My work is created on a frame loom. To begin each piece I warp the frame and start weaving. I make a lot of color decisions while I’m actually weaving the piece, seeing how one color interacts with another and making changes as I go. I work this way even on commissions. Although there are digital mockups, the actual color placement will vary.

It’s tricky to answer but how long does a larger piece take to make?

The techniques I use are time consuming. Some of my works are reflections on the time consuming nature of weaving. For the piece “Forever II” I hand wrapped individual lengths of rope, measuring about 4ft each, off loom and then wove them into what is now the finished piece. It takes about an hour or so to wrap each rope, I lost count of how many are included in this piece.

Did your distinctive style take long for you to develop?

I think my weaving style was influenced by the way I fell into tapestry. Coming from a fine art background with little design or textiles experience I was able to start using fibre materials without a distinct set of rules in mind. After experimenting with weaving and fibre I then took workshops and classes to learn the rules. Somewhere between exploring fibres on my own and learning techniques and construction from professional artists, I found a balance between play and technical skill. The colours in my work are intrinsic to who I am and what draws me in.

What type of loom do you use?

All of my looms are frames, most of which I’ve built myself from wood, stretcher bars, pvc pipes, or recycled picture frames. I do have one really nice frame loom that I purchased at the Rhinebeck, NY Sheep and Wool Festival made by a craftsman located in upstate New York. The loom is an A-frame with front and back weaving capabilities, it’s really beautiful and one of my favourites!

Where do you find inspiration?

I find that it’s important for me to experience new things and see new places to remove myself from my routines and feel inspired. I live in Brooklyn and sometimes finding a new place is as easy as seeing a museum exhibition or venturing to a different part of the city.

What is your career highlight so far?

Every opportunity feels like a highlight! I especially love making commission work, and feel super grateful to everyone who commissions me to make a unique, custom piece.

Do you have any advice for inspiring textile artists?

Take classes and learn as much as possible. Weaving is one of the oldest forms of making. There’s so much to learn and so many people who came before you—learn from them! Stay curious! Textile history and technical skills will give you the resources and reference points essential to creating new and innovative work.