G. Giles Contemporary Tapestry

ARTIST STATEMENT

I feel that tapestry style weaving best expresses my weaving talents, and I enjoy the problem solving skills I encounter with the various intricate techniques that can be used, compared to loom controlled techniques in making wearable textiles that I experimented with in my early weaving, in a way that I have found in no other medium thus far, and as if I have woven before in some other time and space.

In my contemporary tapestry weaving, I enjoy weaving smaller, more detailed and representational tapestries, woven in the Aubusson style, which leaves the wool wefts hanging on the back of the piece, using various intricate tapestry techniques, and woven with Norwegian Spelsau wools, very similar to New Mexico Churro wool, leaving a hard crisp line to show the intricate details I want to express.

My southwest style weavings, larger in size, with the wefts woven into the piece, leaving the front of the piece the same as the back, are woven using New Mexico Churro wools from the Mora, New Mexico's wool mill, Tapetes De Lana, for my warp and weft, and blending color and technique to express the landscape and sunsets of New Mexico and the Southwest. As well, I am continuing on a series of more graphic and linear styled pieces I have been experimenting with for some time, moving to implement I Ching symbolism for what I would like to relay about our changing world, and our place in it.

The Rio Grande blankets I used to weave between 2010-2015, in collaboration with Taos architect, Chris Ferguson, of Tres Estrellas Gallery, Taos, NM, were for the most part museum reproductions of classic pre-1860s Rio Grande blankets, many being from originals from the Albuquerque Museum collection, or private collections, woven with New Mexico hand dyed or natural Churro wools.

I am looking to experiment in the near future with more figurative work in my contemporary tapestry work, as well as a real desire to try out some sculptural tapestry vessel forms, adding a bit of beads, leather, and intricate stitchery to embellish the work, in between the collaborations with other design artists.

As with any creative process, one never really knows where sometimes where one is being led, as one thing leads to another, or so it seems. I am just following the bread crumb trail to finding what I have to express through the textile arts, learning to finely tune my skills, and my creative sense of expression, inspired by nature and the light of New Mexico. What an interesting journey it has been so far, and I am excited to see where it is going now that I have moved my studio to Cedar Crest, NM as of November 2017.