Alex Friedman is an American tapestry artist based in California. Over the last 30 years her work has evolved through several different periods, including ‘tromp l’oeil’ through to the abstract dynamic and colourful work which she is known for today. Her tapestries can be found in public and private collections worldwide.

You have had a long career. What is your background in textiles? 

I sewed lavender sachets and I enjoyed sewing clothes but I never considered textiles as a career. At college I studied art history and studio art and contemplated architecture enough to spend a few years in an architectural office to determine if this was what I really wanted to do. I liked the people and projects but realised the architectural field would not give me the creative space I was seeking. 

Not sure what to do next, a friend suggested weaving!  I took three evening classes at the YMCA and became an instant convert. I loved all the coloured yarns, designing, planning, and working with my hands. I found a weaver in New York who had a tapestry commission for Pan Am Airlines who was hiring four weavers. She hired me and she tested me with a tapestry project to weave. 

I never had formal tapestry lessons but I did read a lot, looked at as many tapestries as I could find to learn from them and I asked a lot of questions. I do like problem solving and I enjoyed the challenge of finding a good solution. Other tapestry weavers have been a good resource as well. I think not having formal instruction was an advantage to approaching the medium without the burden of too many rules.  

What is it about tapestry weaving that appeals to you?

I love the process; from the mathematical calculations of warp and weft, the rough estimates of colours needed, the measuring of the warp to the process of laying down the first weft. I think it is the anticipation of a new tapestry that is so compelling. Often little problems and complications arise during the course of the weaving but I love solving the problems that arise. Often, I will dream a solution.

How do you describe your work?

I have gone through several periods in my career. Initially I was fascinated with seeing how realistic I could make a weaving.  There was a long series of trompe l’oeil pieces that often had architectural elements in them. It was the shadows that give them a dimensional context. Later, I moved to more abstract pieces because I wanted to bring out the ‘textileness’ of the medium. I wanted to abandon the narrative aspects and develop the organic nature of materials and the process. By using eccentric weft, manipulating the warp, using nontraditional materials, the surface became more dynamic and dimensional. I want the viewer to be draw into the texture, the colour, the design and techniques to appreciate tapestry for what it can be. 

Where do you work? 

I have worked both out of home and in rented studios. Currently, I am in a big studio I share with two other fiber artists In a large building with many painters, photographers, mixed media artists. It is a rich source of ideas, support and general good energy. I have a big wall to hang up my pieces and space to stand back to look at them. We have open studios twice a year which is a wonderful way to interact with the public, to get useful feedback and to sell. The Open Studios have also lead to invitations for one woman shows, to lecture and to teach. It would be harder to manage this at home where there just are too many distractions.  

What type of loom do you use? 

I have two looms;  a 60” Regina Glimakra rug loom I bought 30 years ago and an 8’ Shannock loom that I more recently bought second hand. I like both of them for different reasons. The Shannock has much better tension control so is wonderful for big projects. For smaller projects I use the Glimakra. I also use a small frame loom for portability and working out some new ideas. 

How do you work?

Sometimes an idea pops into my head but I also like to look at my photos of water, rocks, lichens, tree bark, grasses, and all kinds of patterns that I notice around me.  

I often start with a sketch on whatever paper is handy. (I wish I were better disciplined to use one sketchbook for my ideas.)  My designs emerge, and evolve over time. Eventually the design is more refined and ready to be made into the cartoon. My cartoons (the full scale design that is traced on paper and attached at the back to the warp) are usually just in black and white and very loosely drawn with the main themes and without a lot of detail, because I like to allow for adjustments. I like the creative process to continue as I am weaving. That keeps it fresh and interesting.

My palette of coloured yarns are on my worktable and the details of the colour are in my head. Occasionally, I weave small samples if I am trying something new or I want to try certain colour blendings. 

I know it’s a hard question but how long does a larger tapestry take from start to finish? 

It is hard to answer that as each tapestry has a different story. One that I can tell you about is called “Here Today” inspired by a rock formation at the local beach. For years I had walked to the shore and photographed the cliff. It was a sedimentary chert with many layers and many shadows that look different depending on the shadows. One day I learned from a geologist that it was called ‘Ribbon Chert’ and the textile connection clicked. I decided I would work with my images to design a large tapestry, after all it was a very large cliff. What intrigued me the most were the shadow patterns. I took great liberty with the colours and the design but kept the reiterating shadows and their transitions. I used hatch marks to indicate the shadows and I really liked the contrast of the small marks against the large shapes of the chert. 

To create these marks I space dyed the white yarn so it would weave in the narrow areas as stripes. I had made several samples to check the size of the dyed areas against the varying widths of the striped area. The loom was warped and finally the weaving could begin. The final tapestry is 72” x 54” plus hems and the weaving took about six months. Finishing involves hemming the two sides, managing the loose ends on the back by sewing them in or securing them depending where they are with regard to the edges. Then blocking the piece and adding the lining and the Velcro I use to hang the piece.

As you can see, there is a great deal that goes into the planning and preparing of a tapestry. The weaving is only a part of the process. Sometimes I answer this question with “It takes a lifetime,” because long practice and much experience have certainly been incorporated into my process.

What are you most proud of in your career so far? 

I feel very fortunate that I have been able to make a career out of tapestry making. Who knew? I find it amazing that I chose an artform that was rather obscure at the time and yet when I dove into it I have found many other tapestry weavers from all over the world  and in many different cultures that have formed my community.  I have expanded my interest in all kinds of textiles and traditions and it is ever expanding! Most recently I was honoured to have a piece selected in the very prestigious “From Lausanne to Beijng 10^th Art Fiber International Biennale.” 

You’ve had a long career, how has textile art and tapestry weaving in particular evolved over time? 

Certainly. I am very excited to see where all the textile arts are going in view of where they have been. There seems to be a lot of interest in textiles these days and I like to think that tapestry has played a part. When I was the Director of American Tapestry Alliance and on the board and I tried hard to include international artists as well because weavers can learn so much from looking at tapestries from other cultures. Now there is a lot of cross cultural and cross media expression and it is very exciting. 

What advice can you give to aspiring artists? 

If you love making art, keep at it. Keep learning and practicing and don’t be afraid of experimenting.  I found failure to be the best teacher!

https://www.alexfriedmantapestry.com

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