Stories from the weave studio – April

Sand, rock, sea and sky

Early April on the isle of Mull. The first time I’ve seen Mull so early in the year. The cuckoo is yet to arrive. The trees, clustered in sheltered spots and valleys, are still bare, revealing their secrets, and the landscape lies wide open. Ever present, the sea mutters in the background at Calgary Bay, where the beach is littered with all kinds of seaweeds, scattered across the rocks. A feast of vibrant colours: burnt orange, oxide, rich brown, umber, ochre, pink and olive green.

Another year has passed and the landmarks I visit each time I come to the special island have weathered further, succumbing to the ravages of time. Peeling paintwork and worn surfaces. Another week spent on this very special island, and I feel refreshed and recharged. Blustery Atlantic storms passing through, the air so clear and a very special light reflecting the sky, the sea, the sand.

Saatchi Art: woven artwork available online

This month I’ve been working away behind the scenes, photographing many of my woven artworks and writing about them, their inspiration and intentions, in anticipation of making them available to buy online at Saatchi Art/Veronica Pock. The store is now live so if you’d like to see more, please do take a look. Smaller works are also available to buy at Liminal Weave.

New scarves

As well as much time spent behind the computer this month, the loom has not been empty. I’ve woven a batch of lambswool and British wool scarves in preparation for next autumn/winter, although the weather in April has been so chilly that I’m still wearing my winter woollens, so maybe it’s not too late to make a few sales this spring…

Blue and yellow scarf

An Tobar, Tobermory, Isle of Mull: ‘Drawing in’

I was lucky to catch the ‘Drawing in’ exhibition at An Tobar arts cafe in Tobermory on the Isle of Mull while I was visiting the island in April. A selection of artists’ work was on show and it was inspirational to see the different styles and interpretations of ‘drawing’. It gave me plenty of ideas for my drawing project that I’m making as part of the 100 day project: 100 drawings, one drawing a day.

Studio view

I’ve finally set up a dedicated space in my studio for photography. In a corner by the window, the sunlight comes in in the morning, and by late morning has moved round so I get atmospheric reflected light. The colours and patterns in this handwoven throw, inspired by the lichen and moss-covered tree trunks, are given new vibrancy.

Studio view

More work on the loom; this time a colourful warp of pinks, mauves and browns. This warp uses 11 different merino lambswool colours set up in a random array, and I’m weaving them into a mixture of different patterns: twill, English tabby and barleycorn.

Thank you…

…so much for your support and for joining me on my creative journey through the seasons. Your support and interest really does make a difference. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy and Saatchi Art.

Looking forward to seeing you again in late May,

with warmest wishes, Veronica

Isle of Mull from Dunollie Castle, Oban, Scottish mainland

Stories from the weave studio – March


With the vernal equinox last week, spring has well and truly arrived. Although the temperatures here in The Hague are still chilly, my garden has burst into life with bulbs pushing through to the light, daffodils dancing on the fresh north-westerly wind, and the shrubs and trees alight with buds. My Magnolia stellata is awash with its delicate lacy white blooms, so fleeting I know that it will only be a matter of days until she fades. But while she’s here, I will enjoy her in all her glory!

For the love of art: a new collaboration

The end of February saw the launch of For the love of art, or LOA for short, a new platform showcasing the work of a hand-picked number of artisans working in a variety of crafts. The brainchild of Anne-Claire Martens, this new online gallery and store has been brought to fruition by her tenacity and determination. Anne-Claire first contacted me last autumn, and it was a grey November day when she visited me in my studio armed with her camera, her infectious enthusiasm and a determination to bring her dream to life. Her energy and talent have captured the essence of my studio wonderfully, showing it in its very best light, as you can see in the beautiful photographs on LOA’s website. What Anne-Claire has achieved in a few short months is astounding, and LOA already also has a physical presence as a pop-up gallery in Den Bosch in The Netherlands. Check the website or LOA’s instagram feed for pop-up opening dates (usually once a month at the moment).

Honouring the past

In my previous blog, I mentioned that I had been approached to weave a number of decorative wabi sabi style pieces that would honour the memory of the fire damage sustained to the owner’s house. These were completed towards the end of February and have been a both a learning process and an inspiration for my future work. I love the way commission work pushes me to think outside the box. Such a wonderful project! If you would like to commission a piece please do get in touch.

Reading material

I recently came across this beautiful book of Sue Lawty’s, purchased from the artist herself. It gives a fascinating insight into her work, the research and thought processes behind her pieces. From thousands of collected stones to woven, beaten lead, Sue’s work is elemental, speaking of time and the eternal force of nature.

“Sue Lawty’s work explores ideas of individuality and universality, a single thread within a piece of cloth or a single stone on a beach formed from millions of stones. In doing so she invites the viewer to notice the subtlest of nuances present in our world. … Her work is rooted in these journeys [she has travelled extensively] and in her emotional and physical engagement with the land. Her process of creating is slow, meditative and meticulous.”

You can read more about her creative residency and 2019 exhibition in collaboration with Toast here and you can follow her work on her instagram account.

Maria Bartuscová: an infinite universe

Finding myself once again passing though London en route to the Midlands, I had enough time to make another whistle-stop trip to the Tate Modern, and specifically the exhibition of work by Maria Bartuscová. Working in the former Czechoslovakia, she experimented with different methods of casting, especially using inflated balloons, where the plaster sculptures retain her presence, shaped by her breath into natural, living forms and negative spaces. Despite working with heavy materials, her work has a lightness, an airiness, fragile, ephemeral and intriguing. The forms are inviting, asking to be touched, and she was indeed guided by intuition, play, therapy and meditation. It is no surprise that some of her objects were used in expressive workshops for blind and partially sighted children. This exhibition runs until 25 June 2023 (recently extended) and I would definitely recommend a visit if you happen to be passing by.

Friendly giants

During the half term break, I visited Bradgate Park on the outskirts of Leicester. Home to clusters of ancient trees, remnants of the dense forest that once covered this area, the trees are a fascinating collection of gnarled and twisted forms reaching skywards. Walking amongst them was like stepping back in time. What stories they could tell.

Studio view

Morning light in the studio catches some new drawings that I’m making as part of the 100 day project, which I’m currently taking part in. I set myself the task to ‘draw something’ every day, for 100 days as the title suggests. So far I’ve (more or less) managed to keep up. I wanted to develop my drawing skills using as many different materials and mediums as possible. Having reached day 29, I realised that, actually, I can still draw, and so I’ve started to explore different motivations for drawing. After having drawn from objects and still life, I have now begun a series of drawings where I draw by ear, listening to music, simultaneously interpreting this on paper. So far the results have been interesting and it feels good to be outside of my comfort zone.

In the background is the beginnings of a new warp, an off-white mercerised cotton, which I intend to experiment with dip-dyeing before putting onto the loom. Watch this space for new developments!

Thank you…

…so much for your support and for joining me on my creative journey through the seasons. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy.

Looking forward to seeing you again in late April,

with best wishes, Veronica

Stories from the weave studio – February

New growth

Wabi sabi sunlight on woven pieces

The 1st of February, St Brigid’s Day, Imbolc, marks the beginning of spring in the natural calendar, and on that day, it did feel as if there was indeed a perceptible lightness in the air, the earth was beginning to stir with life, and the birds were noticeably singing more enthusiastically. Each day now, the lightness advances, day length increases and the dark days of winter are receding. Momentum grows as we move out of the dark and into the light. The cycle of nature moves on.

Ebony, jet, obsidian, onyx, raven, charcoal, inky black: working in monotone

In January I was approached to weave a number of highly textural, raw pieces for use as decorative pieces in a wabi sabi style house, that would honour the memory of the fire damage sustained to the house. After discussions with the lovely lady who commissioned this work, we found the perfect mix of materials and I spent much of February bringing these pieces to fruition. I am truly touched to be entrusted with this project, and the finished work is now winging its way to California. I love undertaking commissions – the challenges they provide and the discoveries I make along the way are invaluable to broadening my experience. A well as making another person happy along the way! This series of work is entirely in black hues, and so I was able to concentrate exclusively on the materiality. A mixture of cotton, linen, hemp and wool with steel is used as the warp and the weft comprises lambswool, British wool, and painted paper that is either torn into strips or cut into strips in a paper shredder. The labour intensive process results in a highly textured surface, but with stability in the fabric. If you would like to commission a bespoke piece, please do contact me; I’d love to hear from you!

Studio view

My loom has been taken up with the black wabi sabi style weavings, and on my work table the painted papers mix nicely with a woven wool sample from a couple of years back. On the studio wall, some recent mixed media collage and woven newspaper pieces from last year.

‘Air’: new work

Simultaneously to weaving, I also make mixed media collage work, monoprinting, painting and drawing as part of my process. It helps me to consider the colours and textures I want to combine and gives me inspiration for new woven pieces. I’m delighted that one of my new pieces ‘Air’ will be available at the Kunstuitleen Voorburg to borrow or buy, and will be on show from 25th February as part of the VERSE VERF exhibition.

Newly available cushions

Four cushions woven in British wool, and other mixed wools have recently become available, and are now listed in my online store LiminalWEAVE. These highly textural cushions are in muted mossy greens, sage, greys and charcoal. This natural palette was inspired by the lichens and mosses on rocks on the Scottish west coast. The backing fabrics are either a matt satin sage green or grey velveteen fabric which complement the handwoven fabrics.

OBJECT Rotterdam 2023

As part of Rotterdam Art Week, OBJECT Rotterdam fuses craft, design, art and architecture in the wonderful HAKA Gebouw on the Vierhavenstraat (four harbours street). This coming together of creatives, new and established, is a real inspiration and a highlight of the year for me. This year’s offerings didn’t disappoint, with and explosion of colours and new ideas. Below are some of my favourites. Take a look at my Instagram for links to some of the studios and creatives mentioned.

Minim.aal at Icoon gallery, Hoek van Holland

The exhibition ‘Minim.aal’ at Icoon is housed in the truly stunning brutalist architecture of a bunker from World War II, part of the Atlantic wall defence built by the Germans to defend the coastline from attack. The distressed and textured concrete tells the story of time, and the exhibition complements, and is complemented by, its surroundings. I spent a good couple of hours here as part of the Rotterdam Art Week, when it was possible to meet the curator, Helma, and some of the artists to talk about their work. Very insightful.

New yarns: my paintbox

My yarn stocks were getting low on some colours, so I’ve just received a big order from Uppingham yarns, suppliers of the lambswool and British wool spun in Yorkshire by Z. Hinchliffe that I use for my handwoven scarves. I’ve also recently purchased some beautiful Lithuanian linen, which I’ve used in the commissioned wabi sabi style decorative pieces. New to me, the Lithuanian linen is of premium quality and comes in a rainbow of different colours and 1- to 4-ply. I conservatively ordered black and natural tones, but will definitely be ordering more colours in the future.

Thank you…

…so much for your support. Your kind words, follows, likes, commissions, purchases and recommendations spur me on to keep creating and pushing my work to new levels and in new directions. Thank you for joining me on my creative journey through the seasons. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy.

Looking forward to seeing you again in late March,


Imbolc 1st February

Stories from the weave studio – January

Letting in the light

New framed handwoven paper, maps and cassette tape

“When work is made with threads, it is considered craft; when it’s on paper it is considered art.”

Anni Albers

I’d like to think that things are changing, thanks to artists like Anni Albers, Magdalena Abakanowicz, Shiela Hicks… the list goes on. Textiles are functional, nonfunctional, decorative, ceremonial, they hold memories and emotions. Every piece I make has an impression of me left in it. Using materials with history, vintage, waste and unwanted materials, I’m trying to give that material value and integrity whilst maintaining its integrity, giving hints to where it came from. I hope that this year will see more people moving away from the ‘disposable’ attitude toward textiles, and value them for their beauty, their tactility, their practicality. “Buy less, choose well, make it last”, as the inspirational Vivienne Westwood said.

A new woollen throw

For the first time, I’m able to offer larger pieces such as throws, woven on my small (50cm wide) loom. The lambswool throw pictured below measures 125x160cm, and was woven using a multi-layered technique which came off the loom folded like a concertina. It was a real sense of achievement to discover that my experiment had worked when I was able to unfold and open up the piece once it was cut free of the loom! If you would like to commission a bespoke piece, please do contact me.

New woollen scarves

After the winter break, I’m always keen to get back to my loom. I’m longing to feel the yarn between my fingers and to lose myself in the rhythmical passing of the shuttle back and forth. The first new warp of the year was a wool one, using up to 20 different colours and a variety of yarns. Combining thick and thin yarns and some synthetic and cotton ‘fancy’ yarns gives interesting textures and pops of colour.

Anni and Josef Albers at the Kunstmuseum, The Hague

“Circumstances led me to thread, and they won me over.”

Anni Albers

As is my usual style, I visited the beautifully curated exhibition of work by Anni and Josef Albers at the Kunstmuseum, The Hague, in the very last week of its’ showing. I’m so glad I made it, as to see the two artists’ work side by gave a real insight into how intertwined their lives and art really were. As Anni Albers aged, she found the physicality of weaving hard to maintain and so she turned to graphic work, which really held its own alongside Josef Albers’. It was Josef Albers’ book Interaction of colour that informed my fascination with colour, and I am still captivated by it to this day. As a weaver, the way colours interrelate can be the make or break of a woven piece working. Some colours side by side will make each other pop… others will suck the life out of each other. Such is the challenge of weaving.

Guiseppe Penone at Voorlinden, Wassenaar

“The tree is a spectacular creation because each part of the tree is necessary to its life. It is the perfect sculpture.”

Guiseppe Penone

I love trees; I always have. Throughout my life I’ve had favourite trees that I’ve come back to, to walk around, to visit through the seasons. So Guiseppe Penone’s exhibition at Voorlinden was a real treat for me. The artist brings to life the world that is a forest, a living, breathing organism, made up of many individual parts that work together in perfect harmony:

“I feel the forest breathing, and hear the slow, inexorable growth of the wood. I match my breathing to that of the green world around me, I feel the flow of the tree around my hand placed against the trunk.’

On the loom

I’ve just recently started working on a very special commission – I was approached to weave a series of decorative pieces that will be used as table top textiles in a wabi sabi interior style house, a house that has been fire damaged in the Californian wildfires of 2022. It’s a real honour that I can be a part of the owner’s journey to making the house a home again, whilst paying homage to the house’s recent history, the scars and burn marks. The brief is to work in black and highly texturally, and I’m enjoying using the structures of the yarns to full effect. Working in one colour is quite liberating, as I can concentrate simply on the materials and how they work together. I’m intrigued to see how these pieces turn out.

Studio inspiration board in January


Part of my process is to work on paper using collage and mixed media art techniques. This allows me to play with colour, texture and form. A new palette is emerging in these early dark days of the new year. Fresh greens and soft dirty pinks sit side by side. The forms are reminiscent of the beachcombed pebbles and pieces of driftwood found last year on the Scottish island of Kerrera. More organic, plant-like shapes are creeping in, and the use of negative space is important.

The value of craftsmanship

I currently have collection of cushions with Draumr, inspired by the Scottish coastline and woven in organic GOTS certified Italian spun Echos alpaca and organic wool. Draumr’s curated collection of craftspeople showcases exceptional Dutch craft, and is part of the move toward informed purchasing, knowing who made your item, how they made it and the provenance of the materials; the story behind it. This trend is currently building in momentum around the world, as people move away from cheap mass-produced goods which are easily discarded and look to the skills of artisans to put value into their purchases, giving them longevity and integrity.

Handwoven cushion fabric and woven sculptural wall art

Thank you…

…so much for your support. Your kind words, follows, likes, commissions, purchases and recommendations spur me on to keep creating and pushing my work to new levels and in new directions. Thank you for joining me on my creative journey through the seasons. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy.

Looking forward to seeing you again in late February,


Reeds in the Haagse Bos

Stories from the weave studio – December


“I prefer winter and fall, when you feel the bone structure of the landscape – the loneliness of it, the dead feeling of winter. Something waits beneath it, the whole story doesn’t show.”

Andrew Wyeth

In this quiet time, as the old year draws to a close, the days begin to lengthen once again. It’s a transitory time, a time to look forward to what 2023 has in store, but also a time for reflection. A time to recover and restore, ready to begin afresh in the new year.

“The most ethereal forms belong to winter; hers is the beauty the leaf has when substance and sap are gone and only the frail white outline belongs. This is the best time to learn the proportions of things.”

Mary Webb

I’ve selected an image from each month of 2022 as an overview of what I achieved in my creative practice over the past 12 months. My work has broadened and deepened, reflecting a more thoughtful way of working, in the materials used and the execution of my craft, as well as the items I make, ranging from fine art textiles to new handwoven throws.

2022 – a year in review


Test samples for zevenxweven exhibition in April, new yarns and new scarves

Selection of handwoven fabrics and yarn


Weaving of pieces for zevenxweven exhibition; mixed paper. linen, hemp and synthetic yarns in the warp and paper in the weft

Woven sample with floating threads


Commissioned scarf in vibrant browns, oranges and blues using a simple linen weave

Commissioned scarf finished piece


Zevenxweven exhibition at de Katoendrukkerij in Amersfoort

Zeven x weven four different pieces


Lighters scarves woven with a linen warp and lambswool and silk weft

Blue lambswool and linen scarf


Fabrics for interior textiles inspired by pebbles found on Gylen beach, the island of Kerrera near Oban, west Scotland

Handwoven cushion fabric and pebbles that inspired the colours


Handwoven map of the Pennine way with three-dimensional elements interwoven

'Way markers' in the autumn sun


Time off in Iceland, leading to new colour inspirations and scarf designs

Handwoven scarf in blue and grey with detail of weave pattern


Handwoven smaller paper pieces using newspaper to refelect the topical issues of this year

Detail of woven newspaper art


Handwoven ‘remnants’ scarf made using up waste warp ends from previous warps

Veronica Pock zero waste handwoven scarf


More three dimensional weaving using layers and double warp set up on the loom

Veronica Pock detail wall art with raffia


Commissioned throw woven using multiple layers on the loom

Handwoven throw full view hanging on rail

Thank you…

…so much for your support throughout this year – for your kind words, follows, likes, commissions, purchases and recommendations. Thank you for joining me on my creative journey through the seasons. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy.

Wishing you all the very best for 2023,


Review of 2022 handwoven interior items

Stories from the weave studio – November

Darkling days

Veronica Pock handwoven raffia on the loom

It’s almost mid-December and I’m catching up, writing about November. A busy time in these darkling days of late autumn. Finishing off experimental weaves using a double warp – each warp separately tensioned – has led to some interesting new work. Weaving the vintage maps into the warp is painstaking, and I’ve been letting the materials speak to me. This combination of paper and raffia has potential, but I’m letting it rest so I can decide how it needs to be presented. I’ve also been working on a commissioned throw, opening up a world of possibilities. And I am inspired by the large woven sculptures of Magdalena Abakanowicz, seen at the Tate Modern in London.

On the loom

At the beginning of November I was commissioned to weave a throw to accompany a set of cushions bought from me last year. I’ve always avoided weaving such a large piece, as I didn’t think it would be possible on my small loom. However, this time I decided to give it a try, following a hunch on how this might be achieved. Using a four-layered weave structure I was able to weave a piece 150cm by 190cm, which shrank slightly when washed to 130cm by 180cm. My experiment worked, and the throw is now on its way to Vermont in the USA. It still amazes me that my work finds its way around the world. Below you can see the sample woven to test out the weave structure, the selection of yarns used, and the resulting throw. The colours are inspired by the rocky shoreline of the Isle of Mull; the weave structure and colours are planned but the patterns are a result of happy accidents when threading the heddles in a random way. I prefer to work in this intuitive manner letting the materials and chance play their part. Sometimes the results can be magical. With a lot of mistakes on the way. As ever, this commission has taught me a lot, pushed my boundaries and broadened my horizons.

Weaving simultaneously with two warps

Setting up the loom with two separate warps tensioned onto the two separate back beams on my looms enables me to create effects with structure and dimensionality. This body of work began with a simple sketch (below left). I rarely have a definite idea of what my finished piece will look like, and this brief sketch was just the jumping off point, allowing me to plan how the warps would need to be set up and the widths and threading pattern to acheive this effect. The pieces have been woven and are awaiting framing and hanging.

Magdelena Abakanowicz at the Tate Modern

A brief visit to London gave me the chance to jump on the Thameslink from St Pancras to south of the river and the Tate Modern. This has to be one of my favourite galleries. Huge, imposing and brutal, its interior, the turbine hall, is vast. Currently running until the 21 May 2023 is Magdalena Abakanowicz ‘Every tangle of thread and rope’. Having crowbarred my rucksack into a tiny locker, I set off to see what this exhibition had in store for me. The gallery attendant in the lift told me it was very ‘warm’ and I can’t agree more. Walking amongst Abakanowicz’s huge creations was like being inside an enormous living, breathing organism. Rich dark colours glowed with an animalistic life.

Interestingly, I felt very drawn to her earlier works. Smaller (although still large) mostly rectangular tapestries woven in two dimensions. Seeing her collages and sketches for the weavings really brought her process into focus. She says:

I am interested in constructing an environment from my forms.

I am interested in the scale of tension that arises between the various shapes which I place in space.

I am interested in the feeling when confronted by the woven object.

I am interested in the motion and waving of the woven surfaces.

I am interested in every tangle of thread and rope and every possibility of transformation.

I am interested in the path of a single thread.

I am not interested in the practical usefulness of my work.

Magdalena Abakanowicz, 1971

Colour inspiration

Once again, November hasn’t disappointed with its vibrant colours. The smoke tree (Cotinus coggygria) in my garden turns the most stunning purples, oranges and pinks, tempered by the softest sage green. Each year I look forward to its wonderful display.

Studio view

The cold autumn sunlight finds its way into my studio at unexpected times of the day, reflecting off nearby windows, and the yarns glow on my shelves. The light at this time of year is very special, inspirational.

Studio view November yarns on shelf in sunlight

Thank you…

… for joining me on my creative journey through the seasons. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy.

LiminalWEAVE logo and three scarves with detail of fabric

Stories from the weave studio – October


WIP October 2022

Starting with some new pieces using paper weft and linen, cotton and hemp in the warp, I’ve been using a double warp set up, something that I’ve not tried before on my current loom. I realise that I’ve not been exploiting the full potential of my loom, which has a double back beam to accommodate two separate warps, and this has set my mind to work on new designs and structural forms. These first three pieces (above) are made using vintage papers and natural fibres, and I’m looking forward to seeing what else can be achieved. In my next blog, I’ll have more photos and an explanation of how this technique works, and hopefully many more woven pieces exploring the different effects.

On the loom

As you can see below, having two separate warps facilitates the weaving of layers and their interlacing. With 24 shafts, I can also weave different patterns across the two separate warps; similarly, two completely separate fabrics can be woven.

Remnants scarves

A project I’d been itching to attempt for some time now is the using up of ‘waste’ warp threads, the small section of warp at the end that can’t be woven, as weft in a new warp. Now off the loom, the result is two unique and intriguing scarves; the first is woven in a mixture of charcoals, greys and ecru, and the second (shown top right below) is in a warm palette (and has already gone to its new home in France). Click on the image if you wold like to see the grey scarf in my shop LiminalWEAVE.

Textile bienniale at the Museum Rijswijk

Every year I look forward to the alternating biennales, paper and textile, held by the Museum Rijswijk in Rijswijk, The Hague. This year was the turn of the paper biennale; the theme of Transition reflects the time of change that we currently live in, where there is talk of a paradigm shift, and resistance in society is increasing. Change is in the air, but we don’t yet know where it is headed. Transition is an international exhibition with 20 contemporary visual artists working primarily with paper. The emphasis is on the visual and substantive quality of the works.

As usual, this exhibition didn’t disappoint. Beautifully curated, the works shown below by Layla May Arthur, Bea van Der Heiden, Anita Groener and Arno Kramer are just a small selection.

The exhibition runs until 13th November, so if you’re in the area you still have time to go and I would definitely recommend a visit (Paper biennale 2022, Museum Rijswijk)!

Open studios: de Spanjaardshof, The Hague

Also a favourite outing of mine that takes place in early October is the open studios event at de Spanjaardshof ateliers in The Hague, who open their doors as part of the Open Ateliers Den Haag. This year, I particularly enjoyed the work of Elizabeth van Vreeswijk, Anna Rose Regenburg and Jurjen Ravenhorst.

Anthony Gormley at Voorlinden Museum

Anthony Gormley has long been one of my favourite sculptors since experiencing the haunting ‘Another place’ at Crosby, UK. The retrospective exhibition ‘Ground’ at Museum Voorlinden in Wassenaar, brought together work spanning Gormley’s career, from his early lead sculptures to new installations that were custom made for Voorlinden.

In his words: ‘Sculpture is no longer a medium of memorial and idealisation but a context in which human being can be examined. Sculpture is no longer representational: it is an instrument of investigation and questioning. I have called this exhibition Ground to make this open invitation of sculpture clear. Without the viewer there is no show, without the gallery there is no context. The joy of this kind of exhibition is to allow the richness of the context itself to become activated by sculpture. For me, the body of the viewer is often the activating principle in a ‘ground’ of contemplation: the works become catalysts for awareness and grounds for physical and imaginative inhabitation.’

As well as occupying internal gallery space, the works extended out to the beautiful grounds of Voorlinden; a walk in the woods would result in a chance encounter of one of Gormley’s cast iron (iron because ‘this is the element that brings oxygen to our blood’) figures in a natural environment. It was fascinating to see Gormley’s sketches and to read that he begins each day by sketching.

Studio view

Working with paints on paper, card and found materials, I can easily explore how colours and textures interact with each other using collaging techniques. The pieces on the wall (left) are small collages inspired by the pebbles I collected on Gylen beach, Isle of Kerrera in Scotland earlier this year. I also have some new vintage maps sourced from my local antique shop in the UK. The colours and lines on the Himalayan trekking maps are a great inspiration (right), and a selection of materials waits for me as a prompt to my next work on and off the loom.

Thank you…

… for joining me on my creative journey through the seasons. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy.

Dahlia at the allotment

Stories from the weave studio – September


Detail of woven newspaper art

Following the long summer break, it’s sometimes difficult to jump straight back into a state of creative flow. I was helped greatly by having an unfinished warp on the loom, which I’ve been able to dwell on over the past two months. Once I started work again, the pieces seemed to fall into place. I usually work with an element of serendipity, letting the patterns emerge through randomising colours and patterns on the loom, as in this case. I rarely have a clear vision of what I will produce, rather the materials and process take over and I let them speak for themselves.

Creative flow

In the case of my paper weavings, the deconstructed newspaper, cut into strips, is reassembled on the loom and forms new images from the disconnected text and images. Four new pieces quickly emerged in the space of a week. The newspaper I used was from February of this year and, as I wove, words and snippets of texts emerged. News items that are still ongoing, with all their repercussions around the world today. I’m still working with the intention to bring three-dimensionality to the woven fabric, and floating and loose ‘threads’ bring the pieces to life. The combination of fine linen, hemp and cotton threads with fragile yet bulkier newspaper strips creates an intriguing contrast.

‘Way markers’

‘Way markers’ was woven before the summer break, from a vintage ordnance survey map of a section of the Pennine Way, a path which traverses the backbone of my native England from the Peak District to the Scottish Borders. It incorporates sections where additional warp has been inserted, woven separately, to create loops and hanging threads. Additionally, I’ve manipulated the piece so that it undulates and unfurls, emulating the twists and turns we take in life, guided by way markers along the route. The map has already had a life: it has annotations and water marks, creases and tears, and is heavily imbued with memories of the paths it has already travelled. This piece goes some way to embody these memories in a physical representation. As Paul Klee once said, ‘Art does not reproduce the visible; rather, it makes visible.’

Remnant yarns: a warp revisited

This month I’ve also been able to begin work on a project I’ve been itching to attempt for some time now. When the warp is woven into fabric on the loom in small batch production such as mine, there’s always a section of warp at the end that cannot be woven, as it passes through the heddles and is tied onto the end beam. Rather than simply discard these ‘waste’ warp ends, over the years I’ve saved them all. It always felt wrong to throw away this material, which is perfectly useable; as you can imagine, I now have quite a large backlog. I spent some time sorting the ends into colour groups, and then began the task of knotting the ends together to form a continuous thread, ready to be used as weft thread. I’ve just removed the first ‘remnant’ scarf from the loom, woven in a mixture of charcoals, greys and ecru. The scarf incorporates Alpaca yarn which I bought many years ago whilst on holidays in Peru. Every yarn in the scarf has a story to tell.

Sheila Hicks: ‘Off Grid’ at the Hepworth, Wakefield

Sheila Hicks’ work is inspirational to anyone working with textiles and beyond. She was a pioneer, championing textile as an art form, and her works are both monumental and miniscule in scale. Studying at the Yale School of Art in Connecticut (1954 to 1959), Hicks’s went on to directly examine indigenous weaving practices in the countries of their origin, and this research characterises her work. Hicks’ major exhibition ‘Off Grid’ at the Hepworth Gallery in Wakefield, UK, reveals how her extensive travels across several continents, immersing herself in local communities and studying textile traditions by observing and collaborating with local artists and artisans, together with her own experimentation and natural curiosity, inspired her to develop a unique artistic language.

Vibrant colour for autumn days

As the seasons shift and the days shorten, so I feel the need for some bright colours to complement the changing trees and skies. Earlier this year I worked on a new weave design incorporating open breaks in the fabric. The resulting scarf is wonderfully textural, light, soft and warm. This is now available in my online store at LiminalWEAVE.

Thank you…

… for joining me on my creative journey through the seasons. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy.

Woven newspaper with blue highlights

Stories from the weave studio – August

Fire and ice

Djupalonssandur beach, Snaefellsnes peninsula

I’m late writing my August blog as it’s already well into September; no weaving has taken place throughout the past month – but August has been filled with foreign travel and holidays. For now, my head is full of summer heatwaves and dramatic Icelandic landscapes. Words aren’t coming easily so I’m going to let the images do most of the speaking…


The gardens and countryside in the UK were tinder dry, the flowers struggling to cope and many already gone to seed. The sultry skies cast a heavy tint to my photographs, and the orange of the dahlias at Clumber Park zinged against their dark foliage.


By contrast, Iceland offered a welcome relief from the heat: with the daytime temperatures hovering around 12 degrees, coats and hats were the order of the day. Having visited Iceland in 2016, I’ve been longing to return and finally was able to realise this this year. Together with my family, we retraced some of our steps out of Reykjavik towards Gullfoss waterfall, passing by the Great Geyser at Strokkur on the way. After visiting Pingvellir and the intercontinental rift at Silfra, we headed over the Kaldidalur pass, essentially a mountain road through the Icelandic interior, passing a shield volcano, the Grimsnes glacier and through vast rocky landscapes on the way to our overnight stop at Husafell. The following day we continued on towards the West fjords, staying first at Drangsnes, with views out towards the island of Grimsey, and then at Holmavik. Travelling up the Strandir coast, the scenery was stunning, with mountains rising up from the sea, punctuated by fjords. There, we visited Djúpavík, with its remnants of the fishing industry: the now disused herring factory, an enormous concrete building, now home to The Factory and used as an exhibition centre and art gallery. This has to be one of the most remote exhibitions I’ve ever been to – ‘The water beneath’ (see below). We were lucky to see a family of minke whales in the fjord on the way to Djúpavík, and watched them for some time from the road. From Hólmavík we then travelled west, traversing the fjords to Isafjordur, from where we visited the stunning island of Vigur, a nature reserve and home to many seabirds.

Travelling further west, we visited the fishing village of Flateryi, passing open wooden structures, traditionally used to dry fish, and uninhabited cottages falling into disrepair, finally stopping a Hjontur, from where we visited the soaring cliffs at Latrabjarg and the 7 km long red sand beach at Raudisandur. The final leg of our round trip took us via ferry to the Snaefellsnes peninsula, with the most photographed mountain in Iceland, Kirkjufel, and the inspiring black pebble beach at Djúpalónssandur, littered with the rusting metal remains of a British trawler that ran aground more than 70 years ago.

Finally, after 10 days travelling in some of the most remote parts of Iceland, we found ourselves back in the hustle and bustle of Reykjavik. Time to sit, enjoy a coffee and take in some of the sights. Thank you Iceland, you are amazing. I hope to return again sometime soon.

The old herring factory, Djúpavík

Hidden away on the Strandir coast, nestled at the tip of a fjord on the eastern coast of the Westfjords, Djúpavík is a tiny fishing hamlet with a handful of houses, a hotel, and a huge disused herring factory, The Factory, that has been taken on by the Djúpavík hotel, and now hosts annual art exhibitions. The building itself is fascinating – vast and ravaged by the elements and time. History hangs heavy here; all around are signs of the building’s past. The walls are a testament to times gone by, and in themselves become abstract canvases to the imagination.

This summer, a number of artists have work displayed at The Factory forming the exhibition ‘The water beneath’: possibly the most remote exhibition I’ve ever been to!

💫 The Factory 2022 💫 – Undirheimar vatnsins // The Water Beneath

Participating artists: Aniara Omann (DK); Alexis Brancaz (FR); Björn Jónsson (IS); Christalena Hughmanick (US); Christine Nguyen (US); Halla Birgisdóttir (IS); Heidi Zenisek (US); Heinz Kasper (AT); Iða Brá Ingadóttir (IS); Kate Robinson (US); Melkorka Þorkelsdóttir (IS) ; Sarah Finkle (US); Simon Lambrey (FR)

Touching themes of water and ocean, the seventh iteration of The Factory acts as the allure of human and non-human beings living above and below sea level, displaying artworks wrapped in watery, and shimmery interpretations – all embraced by the heavy weight of the building’s moody concrete.

Until next time…

Thank you for reading this far, and for your interest and support! I promise that September’s blog will have more weaving related news – I hope to see you then. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy.

The old herring factory texture 1
Every surface of the old herring factory at Djúpavík could be interpreted as an abstract canvas.

Stories from the weave studio – July

In search of three dimensionality

Malham cove 3d weave full piece

The schools have broken up for summer and I’ve tidied the studio; the loom sits quietly with the existing warp waiting for progress to continue in September. For now, I have time to consider what to do with it next. I have some ideas which I’ll keep stored up, ready to try out in a few weeks’ time. Sometimes it’s good to step back and review, taking time to digest what I’ve already done and see where it takes me.

Developing structural woven pieces

When I graduated in 2004, my artist statement read that I wanted to take woven textiles out of two dimensions and into three. This can either be achieved with weave structures such as waffle weave, which I use frequently, or by working in layers, or by manipulating the fabric after it’s been woven. My most recent pieces to come off the loom use additional woven pieces incorporated into the warp on the loom, interweaving one warp with another. Also, sections of warp are left hanging free and then incorporated into the weft further along the piece. Using a vintage OS map of the Pennine Way, Yorkshire, I’ve played with these ideas, and by hanging the work horizontally, have come up with a very sculptural piece shown below.

Next season’s scarves: a new collection

The beautiful pebbles beachcombed from Gylen beach on Kerrera, a small island near Oban on the west coast of Scotland, have provided inspiration for my most recent collection of scarves, ready for the autumn when the cooler weather arrives.

Beginning with sketches exploring the forms, textures and colours, I’ve taken these findings onto the loom. I love to work with wool. Its elasticity makes it easy to tension on the loom and its environmental and sustainable properties are unmatched. I’ve used alpaca and organic wool from Echos together with merino lambswool, and for the warp have selected other yarns from my collection accumulated over the years, including wool, linen, cotton and silk, as well as small amounts of synthetic yarn, to weave four completely unique scarves. The colours are muted greys, blues and soft browns, with pops of ochre and rusty earth colours, echoing the smooth steely blue greys of the pebbles and bleached driftwood.

Graduation show 2022: KABK

I always try to visit the graduation show at the Royal Academy of Art (KABK) in The Hague. It’s where I studied and graduated from and always a real trip down memory lane. The students and staff may have changed, but much of the equipment in the textile department remains the same, and it still smells the same… especially the drawing room where I showed my final collection. A mixture of paint, wood and charcoal dust. Of course it’s fascinating and inspirational to see the new work from the artists and designers. As well as visiting the textiles department, I like to explore the fine art, photography and graphics departments. Below are a few of the highlights for me, works that especially caught my eye.

More experiments in three dimensions

Weaving into three dimensions by adding layers and extra warp sections plays a part in my current experimental work, and a sample piece is shown below left. However, I’ve also been taking existing ‘flat’ work and playing with different ways of hanging so as to give it dimensionality: materiality and dimensionality are becoming increasingly important in my work… something to consider when I return to work in September.

Until next time…

Thank you for reading this far, and for your interest and support! I hope to see you again for my next blog in August. If you’d like to see more of my work and inspirations, I post regularly on Instagram @veronicapock and my work is available online at LiminalWEAVE on Etsy.

Currently on the loom mixed warp and cassette tape
Work on the loom… waiting for my return after the summer break