Richard C. Peel
Over the years I have been fascinated with use of color, pattern, and structures of various types of weaving. While in school, I lived in a building that was filled with Navajo weaving. Later I became familiar with the work of Native Americans in Montana and the Pacific Northwest. My best friend introduced me to the traditional floor loom used in Europe and Colonial America. Although I never found time to weave, the desire was there to pursue these skills someday.
As a young adult my time became devoted to music (opera, chamber, orchestral) and to lost wax silver casting. After an early retirement I had the opportunity to learn more about weaving while volunteering in an art museum, and then to take on the challenge seriously of sitting at a loom. I was blessed in becoming a good friend of a master weaver who had been weaving and teaching for over 70 years in New England and Arizona. She directed my studies to include work and study in Arizona, New Mexico and New England.
The Rocky Mountains, classical music, and the Sonoran Desert have all influenced my development as a weaver. Many of the structures I use are guided by a piece of music, an aria, or an instrumental solo. The music and the beauty of the mountains and deserts all play a role in my use of color and types of yarn as I weave them into patterns and structures.
I am thinking constantly of new designs while traveling in the West, listening to music, working with other weavers, and being surrounded by other artists and their work. These experiences create new ideas and influence already established practices. They often work to change or modify what I am doing and a new piece gets created.