Spotlight: Deborah Kuster, Fiber Artist

Deborah Kuster sat behind a floor loom and has never looked back. She wove textiles for clothing and home dec for the sheer joy of the process. Now she creates her own textiles to cut up and make her own fiber art pieces.

How did you find yourself on an artist’s path? Always there? Lightbulb moment? Dragged kicking and screaming? Evolving?

I was designing and sewing my Barbie doll clothes and weaving loops on a small frame loom in my elementary school years, then designing and sewing my own clothes from my early teens. I made stitchery wall hangings and any kind of interior decorations that I could image.

I majored in art as an undergrad and the skills and art history that I learned were indispensable. I have taught art at all levels in schools and community centers while also completing my master’s and Ph.D. in art education, thinking of myself more as an art lover and teacher.

Tell us more about the processes used in your work. From weaving to appliqué, stitching and more.

I first sat behind a floor loom in 1993 and it was like a homecoming. I purchased the loom I have now and have never looked back! For 10 years I wove textiles to wear, for home furnishings, and for the sheer joy of the processes. Then in 2006, in a very whimsical way, I just started cutting up some of my woven textiles as if creating a collage and then sewing them together.

There are computerized looms now and many ways to weave very complex designs and imagery. However, I love the process of weaving traditional patterns.

My process of cutting and piecing my previously woven textiles is a perfect fit for me. I must adhere my cut-out textiles to a lightweight cotton fabric to stabilize and prevent raveling. I use my sewing machine to zig-zag the textile shapes together. Lots of zig-zags are needed to “catch” and secure all edges of the cut-up weavings. Once I have sewn all of the shapes together, I often add embroidery or sew on buttons, found objects, beads, etc.

The last steps include sandwiching a felt layer with a final, fabric backing to the woven top. So, each work has 2-4 layers to it. I machine sew the layers together just like a quilter and, finally, make choices as to how I finish out the border.   

Do you do series work? How does that affect your approach?

Yes. I think in series or themes. One leads to another. Limiting my art to specific media (my handwoven textiles) and specific themes (that are very personal to me) keeps me grounded and focused. These limitations actually advance my creativity.

Does your work have stories to tell?

Yes! All of my work has a story and I love telling it! But the story does not have to be revealed. The work will have its own meaning and story for each viewer.

When it comes to creating, are you more of a planner or an improviser?

I am always thinking and planning as to what I am wanting to “say” with my art. Then with my “plan” in mind, I very much improvise. That is another reason that my collage process works so well for me. I spend lots of time “trying out” shapes, colors, designs with trial and error until I am satisfied! Then I sew!

Are you a “finisher”? How many UFOs do you think you have?

I am a finisher with my art. I complete one-at-a-time. However, I do have other processes that I love and have gathered materials that are UFOs, such as spinning and basketry.

Describe your creative space.

I have a small “loom room” that has a large window and shelving for my cones of weaving yarns. I must use a spare bedroom for my cutting, piecing, and sewing. The double bed is on a high platform so I can use it to spread out my textiles, cut, and design. My sewing machine has its own little nook.

Working across many different media, how do you organize all of your creative supplies? 

Thankfully, my media can be folded up! I have tubs, clear plastic bags, and shelves that all allow for me to pull out and use as needed. I keep my handwoven textiles sorted together by main colors. I’m comfortable with things not having to be perfectly organized. In fact, my bedroom/designing/sewing room looks like a tornado hit during the designing stage. Then I clear my way to get ready for the sewing stage.

Do you use a sketchbook or journal? How does that help your work develop?

Yes. I am always thinking and planning for future art, so I need to write it down. I collect photos, sketches, and computer files that I will reference.

How often do you start a new project? Do you work actively on more than one project at a time?

I work one at a time, with others in my mind. How often I start a new artwork varies. For example, this past summer I was unsure of my fall projects, so I spent the summer doing lots of weaving so I would have a good supply of textiles to choose from once I began. I don’t let much time go between projects. Because my work is so time and labor intensive, there is time for me to think and plan as I am completing the current one.

Can you tell us about the inspiration and process of one of your works? How does a new work come about?

I am initially inspired by words. The “words” have ranged from my young grandchildren to the Holy Scriptures! One example that I will share is my Feet of Clay series Feet of Clay series | deborahkuster.

The quote that touched my heart was from a book I was reading, Abba’s Child, by Brennan Manning. After sharing a personal narrative of a friend, Manning described the experience as “an earthen vessel with feet of clay laid hold of his belovedness.” These beautiful words inspired me to create “beloved” vessels that would express our human experience.

I began by making all shapes and sizes of “feet” out of terracotta clay that then had to be kiln-fired. Just as with my weavings, I made the various feet without knowing specifically when or how I would use them. As it turned out, I also never anticipated how challenging it would be to create 3-dimensional vessels from my handwoven textiles! Much trial and error! New experiences with fabric stiffeners and awkward angles required to sew textiles into vessels.

A vessel must even be balanced to stand up! Yikes! I created a list of one-word names for possible, future vessels. I looked at images of vessels and forms to see what suggested the words in my list. I used these as basic references. I really enjoy not only using the texture and colors, but, also, the form to give meaning to my art.

Do you prefer the kind of project that is challenging and requires attention, or the kind where you get in your meditative zone and enjoy the process?

What is so wonderful about my artmaking for me is that it is all of the above! Every work is challenging and requires an incredible amount of attention; AND the laborious processes get me in my mediative zone.

What do you do to keep yourself motivated and interested in your work? 

I read and study what interests me. I enter shows and exhibit my work with other artists. I go to art exhibits in galleries and museums. I push myself to take different directions or challenges to express what I want say with my artwork.

What’s the best piece of advice you’ve received?

As an art educator, I have experience with and enjoy many processes and media. It was easy for me to bounce all around, but without a focus. Limiting my media these past 20 years has been key. Dear Younger Me | Deb Kuster · Engage Art

Where can people see your work?

My website, Deborah Kuster, fiber artist, art educator, is the best place to see images of my art and to find lists of exhibitions.

Several of my works are featured on Studio Art Quilt Associates (SAQA) website, Deborah Kuster | SAQA – Studio Art Quilt Associates.

I have illustrated a children’s book with my textile art, Jake the Deer-Hearted, published my Kharis Publishing, Deborah Kuster – Kharis Publishing.

This month of September 2024, I have a solo show in the Stephen’s Gallery on the University of the Ozarks campus in Clarksville, AR, Kuster’s Textile Art to be Featured in Stephens Gallery – University of the Ozarks.

Interview posted September 2024