Barbara J. Walker

NWDC is pleased to share the art and ideas of Barbara J. Walker. Barbara will be presenting a NWDC Member Artist Talk next season, more details about this and other Artist Talks to be released soon!

"It all began over thirty years ago with weaving fine-thread silk scarves using two warps (instead of the usual one) on a floor loom. Twenty years ago ply-splitting came along—now I could create sculptural forms, necklaces, and baskets. Then knotting, needle felting, and kumihimo (Japanese braiding) entered the mix. All the while equipment multiplied in my studio: two floor looms, three Japanese braiding apparatuses, a cord maker, a wall of yarns, and lots of other paraphernalia.

As my work evolved, I naturally began to look outward. The unique thrill of collaborating with other accomplished artists has stretched my creativity and proved rewarding beyond measure.

Teaching workshops for guilds and conferences also has been a mainstay of my work for over 25 years. I’ve written two technique books and numerous articles for various fiber publications." - Barbara J. Walker

Barbara J. Walker, Tracery, Ply-split; artist made 4-ply linen and linen/cotton cords. Photos: Barbara J. Walker

How were you introduced to art?

My grandmother, Etha Brooks, was a painter in the impressionist style. As a girl, during our annual summer visits to my grandparents’ very rustic cabin on a Minnesota lake, I would sit for hours watching her paint in the dining area, which had lots of natural light. My great regret is that I never asked her to teach me.

Where do you find inspiration when creating new work?

All around me during the day, or sometimes at night when I can’t sleep I get ideas. I try to really look at things and see how they’re made, or observe patterns in the sand, for example, when walking on the beach. Sometimes I’m working with a particular interlacement structure, and that leads me to something else. I never know where/when inspiration will hit. 

What do you consider your greatest artistic achievement?

It’s hard to decide between earning my master weaver certification from Handweavers Guild of America (four years of work that included a thesis), or the installation of an 18-months-long collaboration of three ‘rain chains’ in a historic building in Japan, done with Lyn Christiansen of the Boston area.

What is the quality you most like in an artist?

To quote my husband, “being a little weird around the edges.”  In other words, artists see and observe things in ways that are totally unexpected and are able to apply those observations to their artwork. I like artists’ nonconformity and evolving mastery of techniques.

Which living artist do you most admire?

There are so many, but if I have to choose one, I would say Makiko Tada of Kyoto, Japan. She has a PhD in engineering, and her life’s work has been studying all facets of Japanese and Andean braiding: analysis, reproduction of historical braids, innovating new sculptural braid structures and techniques, industrial applications, teaching, writing books, and bringing these traditions to makers around the world. She is a marvel.

Kusari-doi: Resonance of Rain, Collaboration with Lyn Christiansen Walker: Ply-split vessels, felted wool ‘stones', Artist-made 4-ply linen and linen/cotton cords, wool fleece. Christiansen: Kumihimo (Japanese braids) representing water. Artist-dyed silk, mixed fibers. Photo: Duncan Neilson | Barbara J. Walker, One Red Ball. Ply-splitting transitioning to 8-element braiding; globe knot, Artist-made 4-ply cotton cords. Photo: Barbara J. Walker

If you could change one thing about yourself, what would it be?

Getting things done in a more timely manner—I tend to procrastinate.

What is your most treasured possession?

My wedding ring.

Who has had a significant influence over your work?

Lately, I would say John Garrett. I was in his master class, sponsored by NWDC in 2020, and I was inspired to do more mixed fiber media work. I learned ways to combine the many fiber techniques I do.

How has your studio practice changed?

I started as a weaver, but I now tend to concentrate on ply-splitting or working with mixed fiber media, which means more equipment in my studio. I weave, ply-split, make decorative knots, dabble at bookmaking, and braid on Japanese apparatuses. I’m always curious about interlacements, and I justify learning new ones by thinking, how might I combine a new technique with the other techniques I do? Ply-splitting, though, will always play a role in my pieces.

What is your idea of perfect happiness?

That depends on the moment: finishing a piece and having it turn out just as I envisioned or even better; a walk on the beach; a beautiful sunrise; a meal with friends; reading a good book; watching a British or French mystery in the evening with husband and cat; chocolate in its many forms...One of my life quests is to find the world’s best brownie, and I relish every bite of a contender.