The Queue: Terumi Saito
The Queue: Terumi Saito
The Queue: Terumi Saito
Terumi Saito at her exhibition Earthen: Interweaving Fiber and Clay at Forecast Gallery in Brooklyn. Photo by Tina Nguyen, courtesy of Forecast.
Terumi Saito pushes—and pulls—backstrap weaving in new directions.
For Terumi Saito, the backstrap loom is a vehicle for weaving together disparate craft materials and global textile traditions into evocative works of art. From her home studio in Brooklyn, the Japan-born artist weaves silk tapestries onto hemp rope, dyes them with natural dyes made from onion skins and ground-up insects, and threads them onto hand-built stoneware ceramics. In addition to her native Japan, she has studied backstrap weaving in Peru and Guatemala, and uses tools from those countries in her practice. She currently works at New York’s Ippodo Gallery, which focuses on traditional Japanese methods and materials. Saito took readers inside her Brooklyn apartment/studio in “Building an Artistic Sanctuary” in the Fall 2024 issue of American Craft. Her work is available in ACC’s online pop-up sale, which runs through September 22.
Intertwine (II), 2023, stoneware, silk dyed with onion skin and cochineal, hemp rope, wool, 8 x 10 x 8.5 in. Photo by Leander Capuozzo, courtesy of Forecast.
How do you describe your work or practice in 50 words or less?
My work explores an unconventional approach to backstrap weaving, pushing the boundaries of the medium. It encapsulates a commitment to preserving tradition, while also infusing it with innovative contemporary perspectives. The unique flexibility and mechanism of backstrap weaving have facilitated this transformation, opening up new creative vistas.
You’ve practiced backstrap weaving in Peru and Guatemala. Are there other weaving cultures and communities you’d like to be immersed in? Where and why?
I am deeply interested in Ainu textiles from Hokkaido, Japan. The Ainu people create a traditional garment called attus, which is a jacket woven on a backstrap loom using hand-spun bast fiber from a tree native to their region.
You’ve recently started to incorporate hand-built ceramics into your work. How do your processes for ceramics and weaving differ?
I have noticed that my weaving sculptures often evolve differently from the original sketch, as new ideas emerge during the weaving process. Sometimes what I sketch does not translate well to the loom. By contrast, for ceramics, I need to start with a detailed sketch and follow it closely as I build. The sketch is also crucial for estimating the amount of clay I need for each piece.
What are the physical challenges of backstrap weaving? Do you do a particular exercise or strength routine to prepare for your work?
Since I need to constantly keep pulling the backstrap loom to maintain the tension of the warp threads, sometimes when I weave for the first time in a couple of weeks, I experience muscle soreness in my abs and back. On the positive side, I am working out at the same time as I’m weaving on the backstrap loom.
Seeking Light (IV), 2024, silk dyed with kihada and cochineal, hemp rope, jute twine, wood, 37 x 28 x 11 in. Photo by Leander Capuozzo, courtesy of Forecast.
Seeking Light (III), 2023–24, silk dyed with onion skin and cochineal, hemp rope, jute twine, wood, 38 x 21 x 1 in. Photo by Leander Capuozzo, courtesy of Forecast.
If you could have work from any contemporary craft artist in your home, whose would it be and why?
I dream of owning a textile wall piece by Vvork Vvork Vvork, a studio founded by my mentor, Iranian artist Zeynab Izadyar, who is also an exceptional graphic designer. Her background in graphic design is beautifully reflected in her meticulously handcrafted textile pieces. Her work evokes my admiration for Japanese graphic designers such as Tadanori Yokoo, Kiyoshi Awazu, and Keiichi Tanaami.
Which craft artists, exhibitions, or projects do you think the world should know about, and why? Whose work do you love?
In 2023, I had the incredible opportunity to study at Les Monarcas de Barro, which is led by Colombian potter Vanesa Cabezas and education facilitator Kevin Escobar. They share generational knowledge of pottery and mastery of traditional techniques in South America, honoring and recognizing the continued resistance of these communities by creating accessible spaces for the community.
Installed works at Forecast Gallery in Brooklyn. Photo by Leander Capuozzo, courtesy of Forecast.
Take a Virtual Tour of Terumi Saito's Studio!
Terumi Saito created a virtual tour of her studio for American Craft. Check it out below or on the ACC YouTube page.
Terumi Saito gives a tour of her studio in Brooklyn, New York.
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