IN CONVERSATION WITH FIBRE ARTIST TAMMY KANAT

Through experimenting with tapestry and learning traditional techniques, fibre artist Tammy Kanat has discovered a limitless world of colours, textures, and patterns. Her striking work reflects a deep connection to childhood memories of the Australian landscape, utilising vibrant hues and dynamic forms to create pieces that resonate on a personal level and transform the spaces they adorn. Writer Tiffany Jade spoke with Tammy about her journey so far, her upcoming showing at Sydney Contemporary and the brightness of the future.

 

Photograph of Tammy Kanat by Jackie Star. 

 

Open Journal (OJ): How and why did you begin weaving and fibre artistry?

 

Tammy Kanat (TK): After spending 12 years as a successful jewellery designer, in 2011, I felt the need to explore a new medium that would allow me to continue working with patterns, colours, and shapes. This led me to the world of textiles. I was eager to develop fresh ideas and expand my creative horizons.

 

I began by investigating the potential of tapestry, initially experimenting at home after purchasing my first loom. My interest deepened after taking a short course at the Australian Tapestry Workshop, where I learned traditional tapestry techniques. I started with small-scale projects, gradually moving on to larger works.

 

What captivated me was the endless potential for combining colours, fibres of various densities, textures, and hues to create new patterns and visual effects. Unlike replicating existing images, this process allowed for constant innovation and discovery. Weaving became a meditative and addictive practice for me, and I have been passionately pursuing it ever since. The possibilities in this medium are limitless, and there's always something new to uncover.

 

Photograph of StrawFlower by Mark Lobo. 

 

OJ: Weaving has a strong connection to history and tradition across so many cultures. How does your work carry that into a contemporary context?

 

TK: Over the years, my techniques and skills have evolved through a process of experimentation, accident, play, and problem-solving. This continuous exploration allows me to push the boundaries of tapestry beyond traditional expectations, aiming to uncover the full potential of the medium.

 

My style is deeply informed by my internal world, where colour and movement serve as acts of contemplation. I draw inspiration from artists like Mark Rothko, Sheila Hicks, Hilma af Klint, and Judith Scott, whose work demonstrates a profound use of colour and form, infused with meditative qualities. These influences resonate with both the practical and aesthetic aspects of my methodology.

 

By blending these modern influences with the rich historical traditions of weaving, I strive to create works that honour the past while redefining the medium in a contemporary context. My work seeks to bridge the gap between tradition and innovation, bringing fresh perspectives to an age-old practice.

 

 

OJ: Can you please tell me about the work you are showing at Sydney Contemporary?

 

TK: The work I'm presenting is deeply personal, reflecting my childhood memories and love for Australian native flowers. The vibrant colours and unique shapes of these flowers have always captivated me, drawing my attention during countless bush walks at Lake Eildon, where I spent many years admiring the native flora.

 

My first introduction to the Australian bush came through May Gibbs' children's books, filled with fantastical creatures like Gumnut and Gum Blossom babies. These enchanting stories left a lasting impression on me, and this collection is a tribute to my enduring connection to the Australian landscape and its myriad of flowers.

 

Through this work, I aim to capture the essence of the natural world that has inspired me since childhood, translating it into a contemporary textile form that celebrates the beauty and richness of Australia's native flora.

 

OJ: How would you describe your textural works to someone who hadn't and couldn't see them? How do they look and feel? How do you want viewers to engage with them and what is their impact on the spaces they adorn?

 

TK: My works are abstract and intuitive, characterised by rich textures, vibrant colours, and a soft yet dynamic energy. They juxtapose colours, patterns, and textures in a way that creates bold rhythms, causing your eyes to dance across the surface. This visual vibration sets the viewer in motion, preventing the eye from resting in one place and offering a meditative experience similar to the one I experienced while creating them.

 

Colour is my primary medium of expression, possessing a life of its own. When placed side by side, colours generate unique optical movements that engage the viewer on a deeper level.

 

I approach tapestry threads as if I were mixing colours on a paintbrush, layering and blending them patiently to see the outcome once the work is complete. I aim for my works to transform the spaces they inhabit, infusing them with energy and inviting viewers to experience the interplay of colour, texture, and movement.

 

OJ: Where do you draw inspiration? There is a strong sense of composition and balance to your work, alongside an inherently organic approach to form. I wonder how this comes about and what the reconciliation between the two does in terms of the mood your projects portray.

 

TK: My inspiration primarily comes from my surroundings, especially nature. I'm constantly observing and photographing elements like the sky, tree trunks, flowers, the lake, and the moon-anything that captures my attention. These external experiences play a significant role in my practice, but what's happening in my internal world is equally influential. My colour selections are deeply connected to my emotions, reflecting the mood and feelings I'm experiencing at the time.

 

When I combine these internal emotions with my external observations, I'm able to create woven works that express the full spectrum of my experience. The process is deeply personal, and it's often not until a piece is finished that I gain clarity on where it came from. I liken my woven works to a personal diary or journal, where each piece captures a moment in time, balancing composition and form in a way that feels both structured and organic.

This reconciliation of internal and external influences results in a mood that is both introspective and harmonious, allowing each work to convey a sense of balance while remaining true to the fluidity of my creative process.

 

 Photograph of Breathe (Bronze) by Andrew Richey.