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Connecting The Threads With Fibre Artist Siân Boucherd

Creative People

We recently came across the incredible woven works of West Australian fibre artist Siân Boucherd on Instagram, and fell in love with her bright, textural handmade baskets and vessels! Informed by family, place, and slow deliberate process, Siân uses traditional techniques to create her contemporary designs.

Today we talk to Siân about her practice, a process that she approaches as a life-long project.

18th December, 2019

Siân Boucherd, Soft Bodies (wool, jute sisal and feathers) Photo – Sarah Dinsdale.

Siân Boucherd (L-R) Shale, Quartz and Clayrock (hand dyed raw hemp, wool, sisal and raffia). Photo –  Wong+Megirian, The Fulcrum.Agency.

Siân Boucherd, Ore Bodies (hand dyed raw wool, jute and raffia). Photo – Sarah Dinsdale.

Siân Boucherd, (L-R) Two Small Hands Bowl (natural sisal, jute and raffia); Venus Figure (hand dyed jute, wool and raffia), Full Bottom Vase (natural sisal, jute and raffia). Photo – Kylie Plunkett.

Siân Boucherd, Soft Bodies (wool, jute sisal and feathers). Photo – Sarah Dinsdale.

Siân Boucherd (L-R) Quartz, Ore and Shale (hand dyed raw hemp, wool, sisal and raffia). Photo – Wong+Megirian, TheFulcrum.Agency

Siân Boucherd, Gourd vase (natural sisal, jute and raffia). Photo – Kylie Plunkett.

Miriam McGarry
Wednesday 18th December 2019

‘While it is a slow process, it gives me a real sense of forward momentum, it is thoughtful, incremental work and that pace feels just right to me – almost an antidote to regular life.’ – Sian Boucherd.

Fibre artist Siân Boucherd is in it for the long haul. Her mum was a ‘master knitter’, and growing up Siân absorbed her expert skills as a quilt maker, knitter and seamstress. ‘Fibre has always been there, a preoccupation’, she admits. She made her first ‘bush basket’ 16 years ago, but it wasn’t until 6 years ago that she took up the practice in earnest.

After initially studying a Visual Arts degree with a focus on drawing and painting, she spent time pursuing a curatorial practice in Australia and the UK. It wasn’t until Siân returned back home to Western Australia from the UK, and started running an art centre for criminal offenders that she really started to unlock the therapeutic and artistic benefits of basket making. She explains, ‘coiling baskets quickly became my go-to as a technique that anyone can learn.’ The work is simple and repetitive – ‘which can be very therapeutic in itself’, she says – but once you understand the basics, all the small creative decisions involved makes for an ‘autonomous project where the scope for possibility is limitless’.

Teaching every day got her hooked, and Siân still finds herself excited by the potential of ‘such a foundational and ancient technology’. She explains, ‘I could spend a lifetime exploring this one simple thing and really see where I can take it. So that’s what I’m doing, it’s a long game.’ Her weaving is snuck into any spare moment – some days a few stitches on the fly, and mixed with full days in the studio with music and dying of fibres where possible. She explains, ‘while it is a slow process, it gives me a real sense of forward momentum, it is thoughtful, incremental work and that pace feels just right to me – almost an antidote to regular life.’

Place deeply informs Siân’s textural, contemporary work. After returning from her four-year stint in London, Sian found new inspiration in the quality of light and landscape in Western Australia. ‘The natural environment asserts its dominance here in a unique way’, she says. ‘A sense of respect and wonderment for this landscape is ever-present in my work, and is reflected in my desire to work in a medium that will one day break down and be reclaimed by the earth’.

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The Design Files acknowledge the traditional custodians of the lands on which we work, the Wurundjeri people of the Kulin Nation. We pay our respects to Elders past and present.

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