In the Studio: Iris Delphine

We recently went to visit textile artist Iris Delphine at her new studio, located on the property of her stunning family home in Silverlake, where she walked us through her process and explained the intricacies of her looms.

Iris, it was great to visit your studio and meet your family! It’s easy to see why you returned to Los Angeles from the U.K. What took you to England and how has that experience informed your current art practice?

So glad you could come by the studio! I was in college in New York with a multidisciplinary art major, trying to find my specific calling. I was exposed to weaving through a class and fell in love. In order to actually study textiles and weaving I figured out I could study abroad at weaving-specific programs. When I arrived at the program at Central Saint Martins, I knew there was no going back.

I know you come from a family of creatives, and you all work in different mediums. How did you decide fiber art was your medium?

I feel like weaving found me, honestly. I learned some knitting when I was a kid and enjoyed it, but when I first had the chance to weave, something just woke up in me, and I knew I had to do whatever I could to learn as much as possible about it.

Can you tell us how your relationship with Commune began?

I was already such a fan of Commune when I was reaching out to present my work to designers. Our dear family friend Rose Apodaca had a relationship with Commune and was generous enough to make an introduction. I came to find out she was the first person to write about the studio back in 2005! Rose has a long history with Roman, going back to when he was head of PR at Barney’s and she was a fashion writer at the LA Times.

You’ve said that you are inspired by modernist sculptors like Isamu Noguchi, Barbara Hepworth, JB Blunk, and Eduardo Chillida. What draws you to their work and how do you translate that inspiration into more delicate mediums like weaving?

I am most attracted to artwork that is abstract yet guided by organic elements found in the natural world. I feel very connected to the expressions and points of view of each of these artists, and I’m inspired by the processes they developed and the individual lenses through which they interpreted the world.

Though it may be hard to see connections between these artists’ processes and my weaving, there are many crossovers in design principles, but they manifest uniquely when I create work through my own process.

You incorporate some very interesting fibers into your weavings, beyond the standard cottons, wools, linens, etc. Can you talk about some of these more unusual materials and if working with them poses any added challenges?

The primary material I work with across the board is washi paper yarn. I found a fantastic mill based in Japan that makes all its yarn from abaca fiber. It provides a sturdy base, which I use to create open gauzy fabrics. I try to stick to natural fibers but will venture out into synthetics when I think it is worth it—for me metallic yarns are worth it. I’ve been sitting on some wacky yarns from Belgium, including latex and horsehair, but I haven’t quite figured out how to incorporate them yet.

What else are you working on right now, besides your work with Commune?

Over the last few years, I have been collecting found lamp bases and I’m working on refurbishing them. Then I design a lampshade/ light cover, giving each one their own personality.

Additionally, I’m working on a ceramic lamp project in collaboration with my dad, who is a ceramicist. It’s been a wonderful way to merge our creative worlds.

Do you have a dream collaboration or project?

I have to state the obvious that it has been my dream for so long to collaborate with Commune! Commune already curated my show at Blunk Space last fall, which was also a dream come true, as JB Blunk is an icon to me. In that same vein, it would be a dream to one day work in some capacity with the Noguchi Foundation.

On A larger scale, I would love to collaborate on a project with an adventurous hotel, which would provide an incredible opportunity for collaborations in mediums that I haven’t imagined yet.

Looking ahead, I’m eager to work with other weavers, particularly those interested in scaling up production. Whether with mills in the U.S. or artisans from places like Japan, the idea of developing a functional fabric line is something I’m passionate about realizing in the future.

Iris is now represented by Commune for all commissioned work. You can view more of her work here.