Japanstore Magazine: Nao Fukumoto O’Neill – Textile Artisan 29th,Apr, 2014 | Posted by Michael Sullivan | People By Mike Sullivan Please introduce yourself and your background. I was born in Japan and went to study weaving at the Okinawan prefecture of Art and Design University where I graduated with a MA in woven textile in 2006. As part of the course I was given the chance to study textiles in Britain for one year. After graduating I wove kimonos, scarves and art piece as well in Japan. Then in 2010 I returned to the UK to take up a place as an Artist in Residence at University for Creative Arts in Farnham. Alongside that I work at the Craft study centre as a setup technician & help with the Bernard Leach conservation project. Then in 2013 I set up my own weaving studio at Farnham Maltings. Please tell us about your work. When I lived in Japan, I used to weave Kimono, but I also worked in a variety of projects like the restoration of historic Kimono fabrics. Since I have moved to England, I primarily weave shawls, scarfs and wall hangings but I have also woven house hold objects like place mats and bed side runners. I weave cloth using the traditional Japanese technique of Ikat and floating warp using fine Japanese silk, British wool and linen, which I dye by hand with natural materials. I create shawls and wall hangings by using the same skills inspired from kimono weaving. I am always thinking about how to make beautiful cloth by hand by considering the materials as an artwork. By using natural dyes and hand weaving, this means that every piece I create has a subtle variation in colour and pattern that ensures no two pieces are exactly the same. I find inspiration in natural form, pattern and colour, through objects like pebbles, shells and bark that embody the landscape I inhabit, I study the way they are assembled and translate this into the language of the wrap and weft, their story becoming the vertical and horizontal interplay, creating a motif that is both simple to understand and complex in its endless variation. How did you start this line of work? I feel it was the natural progression from my study in Okinawa, There I learned weaving at an university set up to protect traditional Okinawan crafts, At that time, I studied skills and techniques used in making Okinawan Kimono from the collection and processing of the natural fibers through the dying process and onto the weaving for 4 years. Following that I was accepted onto a Masters course to study under Dr Yanagi. He taught me the beauty in traditional skill is the natural variation and imperfections that occur when things are made by human hand, and the depth and fragility of knowledge that has been passed down the generations and ingrained a sense to use and carry them forward. At this time I received a scholarship to study abroad so I went to The Surrey Institute Art and Design (now UCA), and there I researched English weaving techniques and materials, and how their philosophy of crafts differs from the Japanese one. This still interests me greatly; in Okinawa, first technique and skill must be learned, then you can design using traditional Okinawan weaving techniques. In my experience in the UK first the design process and the ability to develop concepts in a sketchbook is learned and then to develop the practical skills through these designs. It was a great experience for me and I started thinking about the benefits of each way, and I slightly changed my weaving after that. I think I am very lucky to have learnt both Japanese and English weaving techniques. I use the best materials both cultures have to offer, wool from England and silk from Japan, I prefer using Japanese silk because it is easy for me to control. But I think I still prefer to use my traditional skills and techniques as much as I can because it is important for me to keep using them. Please tell us more about the traditional Japanese technique of Ikat and floating warp. Ikat is what we call ‘ Kasuri ‘. This is a technique of dying both warp, weft in at intervals along the lengths of yarn, the pattern is then revealed when weaving. Where do your ideas for textiles come from? Where do you find the inspiration for your textile designs? My idea is just from everything around me. When I am traveling, I am always looking for interesting textures and colours in the mundane; a wall, a door, tree bark, anything in nature holds details which can be be used to draw influence from, also if I see graphic design, for example, in a magazine, poster or photo, that I can apply the library of texture from nature to. How long does it take to design and make a particular work? Again it depends what kind of material I use and what techniques I want to use. If I weave using a very fine yarn, it will take a long time to finish. For example, if I weave a colour plain weave 60cm wide and 200cm in length, it takes about 3 days but if I weave using Ikat it can take anywhere between 5 to 8 days. A great thing about weaving is the actual weaving process on the loom allows you think about the next design while you fall into the rhythm of weaving. But weaving is not just the loom. Before that stage I need to calculate how much yarn is needed, dying and winding the yarn, making the warp and weft, and threading the loom much be done before sitting at the loom. After weaving sometimes, we have to steam and tender the cloth. A complicated kimono patten could easily take 3 months to finish. To what extent do you draw upon your Japanese heritage for your work? I am not sure how I have been inspired by Japanese heritage for my work, but I just realized that I am a Japanese person so my body is already stained by it. My colour and colour combinations have become quite changed since I moved to England. The colours included in eyes are slightly different in these two countries, the weather, nature, food, people…are all different so I am looking at everything as different. What do traditional Japanese crafts mean to you? Extreme work and beauty Do you have any exhibitions or events coming up? I don’t have any further events at the moment but I am thinking to exhibit somewhere next year but still you can see my work at the Contemporary Applied Art gallery that is located in Southwark in London: caa.org.uk/ You can also find out more about my work and future exhibitions at my website: naohandwoven/ Finally, any last words for anyone interested in Japanese crafts? Japanese crafts are very highly skilled and quality products. We are very proud of them. I think crafts are for people to use them and it adapts itself to your hand which is why it becomes beautiful. If you use them you will be able to know how different the texture and feeling is compared to machine made products. japanstore.jp/blog/nao-fukumoto-oneill-textile-artisan/
Posted on: Sat, 09 Aug 2014 03:30:00 +0000