JCCFS: Tell us more about yourself and your weaving background.

EG: I am a production weaver based in western Massachusetts. I specialize in weaving heirloom-quality textiles for the home for my business Hands to Work Textiles. I was trained in the Scandinavian tradition at the Vävstuga School and am most at home on countermarch and counterbalance looms. I bring my production weaver’s eye for efficiency to all my classes.

This particular class has grown out of my line of one-of-a-kind doorway curtains. These pieces have been a way for me to continue to focus on household textiles while also dipping a toe into fine art weaving. Given that these pieces are both wide (40-50 inches) and quite long, they pose an interesting design challenge, especially when working with asymmetrical patterning techniques. They also require special attention when dressing the loom and weaving techniques that may be unfamiliar to weavers who are used to weaving narrower warps.

JCCFS: What’s different about this class from other weaving classes? 

EG: One of the things that sets me apart is that I am most at home on the Scandinavian style countermarch and counterbalance looms that are less common in the United States. The Folk School has several of these looms, and I plan my classes to allow students an opportunity to experience working with these looms.

JCCFS: What can students expect to leave your class with?

EG: This class will be focused on designing and weaving a single warp that is at least 40 inches wide. Students can bring their own ideas, or chose from a list of suggestions including large tablecloths, curtains, coverlets and yardage. This class has something for everyone, from a weaver just beginning their textile journey to someone who has been weaving for decades. We will have fun, but we will also work hard (in my opinion, a good weaving class will work students to the bone and make them like it!). I bring my production weaver’s eye for efficiency to all my classes, which applies not just to weaving but also to the design process. Students will gain confidence in both their weaving and design skills and will also develop good habits to improve their weaving lives. We will learn as a group and assist one another.

JCCFS: What is your favorite aspect of the John C. Campbell Folk School?

EG: In my experience, weaving is an exceptionally time consuming course to take and to teach. We often stay late, and I always come into the studio early. And frankly, I wouldn’t have it any other way. I look forward to the deep dive, and am grateful to the support of the Folk School to do so. Walking to the studio to brew coffee under a full moon (because the sun wasn’t up yet!) has got to be one of my favorite life moments.

I also just LOVE to teach! I love meeting my students and connecting with them wherever they are in their weaving journey. I love sharing my work and my knowledge with others, and I love being able to tap into the decades of experience in the room with us.

JCCFS: Where do you draw inspiration from for your weaving?

EG: I am inspired by a desire to surround myself with things that are both functional and beautiful to look at and sturdy enough to last a lifetime. This aesthetic is absolutely on display at the Folk School!

JCCFS: What have you woven recently that you’re particularly proud of?

EG: The first sample “portiere” or doorway curtain that I made is still my favorite. It brings me joy whenever I display it.