Making a Living as a Fiber Artist
An Interview with Sandra Bowles, Editor of Shuttle Spindle & Dyepot magazine
Interviewed by Bernadette Finnerty

TCR: What are the some of the biggest challenges related to running a successful business as a fiber artist?

SB: All artists face this, but fiber artists have an added challenge since almost every aspect of fiber is extremely labor intensive. Fiber artists must have the technical knowledge, experience, the time and/or the finances to employ someone else to do some part of the process or construction, especially if their work is clothing.

Just acquiring the technical knowledge necessary to be an accomplished weaver takes years.

The cost of equipment and education can be substantial.

There is an additional problem of the historic anonymity of fiber artists. For example, almost every book on Bauhaus mentions the designers by name, but the woven works (rugs or the fabric) are just credited to “the weaving workshop.”

Whether or not this is because most handcrafted fiber works throughout the world are made by women, the fact is that the work is not as valued in the market place.

There are few “household names” in the medium of weaving, and I believe it takes longer for fiber artists to achieve a level of success in their business compared to those working in other media.

Being handmade is no guarantee that the work is of high craftsmanship or beautifully designed. Mass produced fabrics can be outstanding. It is not an “either/or” situation. In-creasing public awareness and educating is the best way to have people appreciate work that is beautifully designed and finely crafted. A beautiful basket, or a shimmering jewel-tone, finely woven silk scarf are very difficult to resist.

TCR: How can economic factors affect a fiber artist’s ability to market and sell his/her work?

SB: Most fiber artists can’t afford to live on only the income generated by the sales of their work. Even those who have achieved a level of success, have worked years and have been persistent, have had the support of their family, a spouse or a partner.

The financial reality is that health benefits and retirement plans are not things that come with starting your own business, especially one in the arts. Banks are reluctant to loan money to artists and most artists or craftspeople have to educate themselves regarding the world of business.

Traditionally, academic arts programs do not include courses on developing a business plan, running your own business, marketing, or public relations. Obviously, in tighter economic conditions, both getting started and holding on to sales require planning and creative approaches.

TCR: What do you consider is the best way for fiber artists to find their market and sell their work?

SB: An artist should join a fiber organization like HGA. Take advantage of the international network of artists, educators, and members. HGA members can place their work on the member/artists page on the guild Web site.

Review the work found in the pages of Shuttle Spindle & Dyepot. Read the The Crafts Report, join local arts associations, research trends, and talk with gallery and shop owners and other artists to determine if there is a market for the work.

Develop a business plan and have someone who has business experience review the plan with you.

Apply to local craft shows, and as your success increases, apply to national shows or international shows.

Have good slides or high-resolution digital photographs taken of your work. That is at the top of my list. Ours is a visual medium, and a good photograph of your work can be used many ways.

If the real estate market mantra is location, location, location, make yours presentation, presentation, presentation!

TCR: How have mass-market trends affected the fiber community?

SB: With education and increased public awareness, the international language of textiles, basketry and fiber art becomes more appreciated and revered.

Both the computer and the Internet have had very positive effects on the fiber arts. The Internet has been responsible for bringing large numbers of visitors to the Guild’s Web site, which, in turn, has increased our membership substantially every year.

The majority of these new members are new to weaving, spinning, basketry or dyeing.

Computer-assisted looms have been a huge help to studio and production weavers. Almost every artist featured in the recent exhibition “Technology as Catalyst” at the Textile Museum in Washington, D.C., noted that the computer has provided a large increase in design opportunities.

FOR MORE INFORMATION Sandra Bowles Shuttle Spindle & Dyepot Handweavers Guild of America 3327 Duluth Hwy., Ste. 201 Duluth, GA 30136 (770) 495-7702 Hgasandrab@dscga.com www.weavespindye.org

Designs and compositions on computers can be saved or discarded; components and colors reviewed, or modified; and decisions made without weaving the entire work. A large savings in the weaver’s time is another gift of the computer.

The computer revolution also provides the opportunity for fiber artists to use a concept not entirely new to weaving.

With the advent of the Jacquard loom (around 1790), fabrics could be designed with incredible richness, detail, and interplay of color and could be produced very efficiently in a factory situation. With the arrival of looms with computer-assisted design capabilities and “Jacquard-for-home-use” looms, the studio artist also can communicate this complex message [through weaving].

TCR: What else would you recommend to fiber artists you have met through SS&D and HGA?

SB: It is the Guild’s mission to provide education about the fiber arts. We especially want our members, the readers of Shuttle Spindle & Dyepot, to be aware of health concerns and to protect themselves. We have ACTS Health and Safety Industrial Chemists review all articles pertaining to dyeing. Our challenge is that while we stress wearing gloves, using respirators, only using dyes in well-ventilated areas, etc., we fear many do not heed the advice.

OCTOBER 2002: TABLE OF CONTENTS