In the latest edition of our interview series, we once again dive into the world of minimalist aesthetics. In inspiring conversations with creative minds from the fields of architecture, design, and art, we explore how they are guided by their vision and how they express it in their works. Along the way, they provide us with interesting insights into their creative process and reveal how they perceive and shape the world. This time, I had the pleasure of having an inspiring conversation with Rachel DuVall.
Rachel DuVall (b. 1985) is a Los Angeles-based textile artist whose hand-woven works are characterized by geometric patterns and a profound engagement with the weaving process. Through her meticulous planning and intuitive creativity, she creates minimalist yet complex works.
In this interview, I talked to Rachel about her creative process, the inspiration behind her work, and her experiences as an artist-in-residence at the Josef & Anni Albers Foundation. She told us how she came to weaving, the role of repetition and planning in her work, and how she integrates her intuition into her otherwise highly planned approach.
Rachel, thank you for your time! Please tell us how you got into weaving and what fascinates you about it.
I started weaving about 20 years ago. I took a class on a floor loom and immediately fell in love. I really enjoy the entire process of weaving–counting, lining up of the threads, everything makes sense in the grid structure of the loom.
How would you describe your art to someone who has never seen it?
I would describe my work as woven paintings, geometric, with repeating elements that are rotated and reflected. They employ natural materials, such as linen and natural dyes.
I think physically weaving on the loom gives me the greatest sense of fulfillment.
The repetition of lines and shapes plays a central role in your work. How do you develop these harmonious, geometric compositions?
I spend a lot of time planning and sketching my pieces before they ever get near the loom. Weaving is built upon a structure of over/under in its simplest form, so I start on graph paper dividing the space, moving around different elements and adjusting the scale. I aim for symmetry in the overall design and use color and natural variation of the woven cloth to add visual tension throughout.
You describe your working method as very process-oriented and planned – how much room do you give yourself for spontaneity and intuition during your creative process?
My intuition comes into play a lot during the sketching process and when choosing which natural dye and colors to work with. So much variation in the piece comes from the hand process of weaving and the physical act of throwing the shuttle back and forth over the warp threads.
Even if I am not making compositional decisions in the moment, the process is very idiosyncratic.
What moment in your creative process gives you the greatest sense of fulfillment?
I think physically weaving on the loom gives me the greatest sense of fulfillment. There’s a lot that goes into arriving at this stage––sketching, measuring out my warp threads, setting up the loom, etc. Once I get to actually weave, it’s such a release to just let go and build up the piece line by line following the sketch.
During your artist residency at the Josef & Anni Albers Foundation, you developed a new approach by layering painted linen behind your woven works. What inspired you to take this new approach?
I had such an amazing time at the Albers Foundation. I went into the residency with the idea that I would play around with the transparent nature of my weavings which was a new process for me, and I could not have asked for a better environment to explore it in.
I am obviously a huge Anni Albers fan; her weavings are so inspirational, but I am also drawn to Josef’s optical mixing and amazing approach to color, so combining painting and weaving while there made all the sense in the world.
I always hope that calmness comes through when viewing the work that I experience while creating it.
Your works radiate an incredible calm. How does this meditative quality affect you and your everyday life?
I am so glad that you feel that way. I always hope that calmness comes through when viewing the work that I experience while creating it. I think my innate draw to weaving is that it offers a meditative quietness that we all seek in such an unpredictable world. I am a mother to two small children, so I especially delight in the break from chaos.
What are you currently working on and what are your plans for the future? Are there any materials or colors you would like to explore further?
Currently, I am working on a new series pushing the aspects of optical mixing by combining multiple weave structures in one piece. There is endless inspiration to be had with color in natural dyes, so we will see where that takes me this coming year.
Thank you very much, Rachel!
More about Rachel DuVall
https://www.rachel-duvall.com
https://www.instagram.com/rachelduvall/
