Jan Bowman

I love the whole creative process from concept, design development, setting up the loom and weaving! The actual weaving process orchestrates a number of highly repetitive gestures. In practice the whole body is involved in the rhythm of the movement. The repetitive nature of weaving facilitates the potential for it to become a therapeutic, almost healing process through the making. This quote sums up the whole process:“Significant work involves focus, skill, instinct, poetics of the body, movement, commitment to the object, dermined realisation, continual absorption of all past methods, rhythm, spontaneous improvisation, and a veritable jazz danceof the hands.” James Evans. Ideas In the Making.

Q&A

Artist Statement

Jan Bowman is a woven textile designer with many years’ experience as a commercial design consultant. Her current work endeavours to break the boundaries of hand loom weaving through the creation of spatial divides, panels and sculptural pieces which challenge the conventional limits of her discipline both technically and conceptually. The works interpret colour, form and texture inherent in landscape and seascape, exploring rhythms in nature, play of light and shadow, sequences of growth, tides and seasonal change. All the works are deeply rooted in an emotional response to both subject matter and materials.

Jan’s work is also strongly influenced by aspects of traditional Japanese aesthetic. Her current research explores the possibilities of heightening people’s sense of ‘well-being’ through the integration of textile artwork within public spaces. Her woven works aim to bring recognition of the original natural source, attempting to harness something of the ‘healing energy of nature’.

Recent notable exhibitions: Collect 2022, Somerset House; ‘Our Journey’, National Centre for Craft and Design Sleaford 2022, ‘Mind &Body ‘exhibition National Centre for Craft and Design Sleaford 2019/2020; ‘Breaking the Boundaries summer exhibition The Museum of Carpet, Kidderminster 2019; Collect Open 2019 Saatchi Gallery London; Be Gallery, Kyoto Japan 2017

What craft do you work with?

I am a hand loom weaver. I first wove in the second year of my degree course at Loughborough College of Art in 1977.I enjoy exploring double cloth structures, combining unusual combinations of manmade and natural materials.

What inspires you to work with this craft?

My studio is located in Coldingham. The whole process begins with my obsession around natural forms and found materials. I have become a perpetual beach forager since moving to the Scottish Borders. The concept and form of my current work is centred on the rhythms found along the seashore and the might of the ocean movements.
The fabrics I create for my artworks are all woven on a George Wood dobby loom which I love! I undertake all the processes in making the warps and dressing the loom personally. My passion for making work is driven equally by a desire to interpret what I see and the actual bodily experience of making.

The work embraces a high level of craftsmanship, engaging in a rigorous commitment to understanding the material and technical aspects of the work while continuing to challenge the conventional limits of the discipline. The weaving is the first step in making. The process of working and moulding the woven pieces into the forms I have designed then begin. This involves pleating, bending, forming round moulds and intense manipulation using all sorts of props I have found helpful along the way. The whole process is very intuitive, there is a sense that the quality of the outcome is continually ‘at risk’ during the forming of the overall sculptural forms. I cannot allow the fear of it not working or going wrong, to restrict me, this is hard when a large piece of work can take up to three months to produce!

The materials used in the weaving are obviously the core of the construction of the made piece; however, I am very conscious that their inherent qualities have the potential to instil association and subsequently meaning and emotion into a piece of work, for both myself and the spectator.

How do you start your creative process?

I love the whole creative process from concept, design development, setting up the loom and weaving! The actual weaving
process orchestrates a number of highly repetitive gestures. In practice the whole body is involved in the rhythm of the movement. The
repetitive nature of weaving facilitates the potential for it to become a therapeutic, almost healing process through the making. The most difficult part is threading up and reeding a fine double monofilament warp with 6,000 plus ends without making a mistake!!!This quote sums up the whole process:“Significant work involves focus, skill, instinct, poetics of the body, movement, commitment to the object, dermined realisation, continual absorption of all past methods, rhythm, spontaneous improvisation, and a veritable jazz danceof the hands.” James Evans. Ideas In the Making

How would you best describe your workspace and what tools could you not do without?

My work space is very light and airy. Light is essential when working with fine monofilament fibre.Neat and tidy between projects, the workshop turns into a huge messy ‘hamster nest’ during the making process. I have to have all my materials, colours and textures relating to my inspiration around me when working.My totally necessary tool is my gorgeous old George Wood Dobby loom which was made for me by George. It is a work of art in itself, he never used a piece of wood he had not seasoned for at least ten years in his workshop. He also hand forged all the metal pieces on his looms.Very useful is a large table top, on my plan chests, on which I lay out the treasure’s I have found. At the moment the treasures adorning my table are seaweeds!

Are there new techniques you would like to try?

I am currently experimenting with drying seaweed with a view to incorporating it in my woven art works.I also intend to explore in greater depth the use of gold leaf foiling in weaving.

What have you learnt or the best advice you have received that you would like to share with fellow crafters?

Do not be averse to taking a risk when exploring new ideas. Experimentation, in the knowledge that it may not work, can push you through into breaking new ground, conceptually and materially. There is the sense that the quality of the outcome is continually ‘at risk’ during the making process. I cannot allow the fear of it not working or of going wrong, to restrict me, although it can result in some anxious days weaving until a piece can be taken off the loom and properly scrutinised. My dream is to continue to try and capture ‘spirit’ in my artworks, so eloquently put by Junichi Aria master textile craftsman:

‘But always remember, good work is more than materials, more than product, its about spirit’ Junichi Aria, Through The Surface, in conversation with Tom Parry.

Media & Contact

Representation

Jan Bowman Designs / freelance

References

Website: www.jbowmandesigns.co.uk

Instagram: jbowmanwovendesigns

Photography credit

Daybreak Detail Jan Bowman, Collect Open Murmuration Installation by Sylvain Deleu, Murmuration Roost by Sylvain Deleu, Pods by Jan Noble, Studio Jan Noble.