Makers

Building an Artistic Sanctuary

Terumi Saito’s Brooklyn apartment serves as a studio space for her backstrap weaving—and a gallery for her vibrant, inventive works.

By Terumi Saito
Thursday, September 12, 2024

Fall 2024

At Home

In My Studio

Free To Read

Photo by Izaac Costiniano

A large desk anchors the workstation in Terumi Saito’s home studio.

To take a virtual tour of the author’s studio, check out this YouTube video.

I live with my partner in a studio apartment in Brooklyn, New York, nestled within a building that was constructed in 1930 as a toy factory. Our apartment is more than just a living space—it’s a sanctuary for creativity. The high ceilings and ample natural light provide the perfect backdrop for my textile art. The space seamlessly integrates living, working, and resting areas into a single cohesive environment. Over time, I have imbued it with my personal touches through a series of DIY projects, including painting walls and kitchen cabinets and refurbishing shelves to optimize functionality.

I have devised a routine to wake up early and weave before work and again after I come back from work until late at night, in addition to my other studio days. I especially like to weave with the natural light in the morning so that I can see the beautiful colors of naturally dyed yarns. I feel this is the unique and special part of having a home studio corner space—I can start working right after I wake up or I can work until very late, right before going to bed.

Navigating the balance of daily life between a full-time job and the pursuit of an artistic practice and maintaining momentum in my creative endeavors has been a journey with challenges, particularly after completing my master’s program without a dedicated studio space or a nurturing artistic community. In the face of adversity, I’ve found solace in the act of creation itself—a source of joy and rejuvenation that transcends the challenges of my circumstances. Whether weaving, experimenting with natural dyes, or molding clay into new forms, each creative endeavor has served as a lifeline, giving me a sense of purpose and vitality.

Photo by Izaac Costiniano

Saito relies on a DeWalt clamp to hold her loom in place.

Photo by Izaac Costiniano

Saito’s Whispering Streams, 2021, cotton, Japanese indigo, manila rope, bamboo, 52 x 20 x 2 in.
Photo by Terumi Saito

A piece from Saito’s Intertwine project, 2024, stoneware, silk, madder root dye, manila rope, wool, 11 x 12 x 8 in.
Photo by Izaac Costiniano

Saito hand-dyed natural silk for Seeking Light, 2023, 29 x 21 x 1 in.

At the heart of my practice lies the ancient art of backstrap weaving, a technique that has a rich history in Asia and in Central and South America. Unlike traditional floor looms, backstrap weaving requires minimal space. Whether nestled amidst the verdant landscapes of Peru and Guatemala or within the confines of my New York apartment, the backstrap loom emerges as a versatile tool, capable of transcending geographical boundaries and cultural divides.

Backstrap weaving uses a simple loom made of thread and rods, but it involves complex operations. Unlike advanced looms, it does not have wooden frameworks and metal heddles. Warp threads are manipulated with string heddles, attached individually each time. Tension is maintained by anchoring threads to the weaver’s waist and a post or foot, requiring full-body engagement.

My backstrap weaving loom is secured to a substantial custom-built desk with a DeWalt clamp, which has emerged as a steadfast ally in the pursuit of precision and stability. Crafted in collaboration with my partner from durable wooden boards and reinforced with sturdy table legs, this workstation is central to my studio’s functionality.

While alternative setups, such as attaching the loom to a steel rack shelf, have proven viable in other environments, nothing quite compares to the immersive experience of weaving amid the scenic views of Peru and Guatemala during my residency and research trip, where the loom was attached to trees or wooden poles.

I use tools from Peru and Guatemala as well as some that I’ve made. One of the essential tools is a beater, which is a flat wooden strip with a sharpened edge that helps to separate the warps and create enough space to insert the weft, and to tighten the weft and the entire woven structure. I have been using backstrap loom beaters from both Peru and Guatemala, treasures that I cannot imagine weaving without.

Photo by Terumi Saito

A pot holds tools for backstrap weaving. Dyed silk warp is laid out for an in-progress piece.

My home studio serves not only as a workspace but also as a personal gallery where creativity knows no bounds. The flexibility inherent in this multifunctional environment allows me to integrate my artwork into the living space. I am grateful for my supportive partner who enables the expansion of my workspace in our shared apartment. In this unique setting, I have the liberty to display my pieces on the walls or suspended from the ceiling. Though challenged by occasional constraints in storage space, I transform limitation into opportunity. Whether showcased in the area of workspace, living room, or bedroom, each placement serves to enrich the environment while underscoring the symbiotic relationship between art and everyday life.

My studio’s dual role as both a workspace and a gallery also gives me the opportunity to share my passion with others, inviting visitors for studio visits and meetings to experience firsthand the evolution of my projects and the inspiration behind them. I prepare tea and snacks, welcoming guests with the hospitality ingrained in my Japanese cultural heritage. My home town, Shizuoka, is renowned for green tea, and my family also grows their own green tea.

In tandem with weaving, ceramics plays a pivotal role in my mixed-media creations. I recently introduced a supplementary desk adjacent to my primary workstation, a dedicated space tailored to the creation of ceramics and natural dyes. While a scarcity of kilns and studio spaces has posed challenges for me in New York City, recent residencies at the Houston Center for Contemporary Craft and the Vermont Studio Center gave me access to kilns and communal studio spaces, enabling me to bring my ceramics to life. I am excited for my residency this fall at the Museum of Arts and Design in New York, where I’ll have the opportunity to access equipment such as kilns and an environment conducive to creative exploration.

Photo by Terumi Saito

Completed works are installed throughout the space.

As I continue to explore the intersection of fiber and ceramics, my studio remains a beacon of creativity—a space where artistic vision flourishes and boundaries dissolve. Inside its walls, the past converges with the present and tradition melds with innovation. With each creation, I am reminded of the transformative power of art to connect, inspire, and elevate the human experience.

In the timeless art of backstrap weaving, I find not only a source of artistic expression but also a profound connection to the shared heritage of humanity—a thread that binds us together in our cultural diversity and creative ingenuity. As I weave the threads of tradition and innovation, my practice embraces the spirit of exploration and discovery.

Terumi Saito is an artist and designer based in New York. Her sculptures explore an unconventional approach to backstrap weaving, incorporating natural dyes and hand-built ceramics. Her practice is centered on preserving and reviving traditional techniques from a contemporary perspective.

Photo by Terumi Saito

The supplementary desk in Saito’s studio is home to her natural dyeing and ceramics.

Visit Terumi Saito online.

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This article was made possible with support from the Windgate Foundation.

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