Contact Us

Questions? Compliments? Ideas? Send us a note!  

Designer Submissions should include a website address and we will contact you if your line is a good fit.  Thanks for your interest!

Sign up for our mailing list on our About page.

Name *
Name

145 S King St
Seattle, WA, 98134
United States

206-788-0330

Velouria _ chika and cat.jpg

Blog

An Interview with Neon Saltwater + Shaana Hatamian

Shop Velouria

Our current art show features a group show curated by the The Blush Room, an online gallery space for femme identified artists. Today we're connecting with two more of the artists, 3D illustrator, Neon Saltwater and fiber artist, Shaana Hatamian.

First up, Neon Saltwater:

Neon Saltwater, "Mall Feelings" 2016

Neon Saltwater, "Mall Feelings" 2016

 

Velouria: How did you come to find 3D modeling/ what first attracted you to it?

Neon Saltwater: I got into interior 3D modeling when I was in interior design school as a commercial tool to create renderings of prospective spaces.  For a long time I thought its uses were pretty limited to that but I found myself getting lost in it and spending countless HOURS on the details. I still consider myself an interior designer, however 3D modeling as an art medium is so satisfying because the limitations that exist in the real world don't apply.

V: Describe your process, do you have any specific rituals or routines?

NS: Sometimes I have partial pieces of a space mapped out in my head, and then once I start building it in 3D it just kind of grows and grows. I try to create my own textures sometimes and I do some small detail stuff in Photoshop too at the end.  

V: Who are some artists/designers/writers/makers who inspire you?

NS: Artists that inspire me: Miranda Lorikeet, Yoko Honda, Anny Wang, Dom Sebastian, Jules de Balincourt, Edward Hopper, Matthias Weischer, Laura Callaghan, Maria Jose Carlier, Jess Audrey, Mary Katrantzou and so many more!

V: If you could spend the day with one artist past or present who would it be?

NS: All the artists above express space, interiors, objects and time in a way that hits my gut, it would be an honor to spend the day with any of them and pick their brain and observe things they notice out in the world.

See more of Neon Saltwater's work at their website.

Neon Saltwater, "She's an Aquarius" 2015

Neon Saltwater, "She's an Aquarius" 2015


Up next, Shaana Hatamian:

Shaana Hatamian, "Ikat" 2014

Shaana Hatamian, "Ikat" 2014

 

Velouria: How did you come to find weaving/ what first attracted you to it?

Shaana Hatamian: Much of my interest in textiles stems from my Iranian culture. I grew up with finely crafted Iranian rugs and textiles that are quite exceptional. My admiration for such works let me to study Fibers during my undergraduate career. I became the most curious in the field when I started learn how to weave. I am continuously interested in how color, materials, and structure come together in a practice that has such ties to tradition. 

V: Describe your process, do you have any specific rituals or routines?

SH: I sketch. I plan. I start to weave and then it always turns into something different. I listen to at least one album from start to finish.

V: Who are some artists/designers/writers/makers who inspire you?

SH: Anni Albers, Mark Rothko, Faig Ahmed, Brent Wadden

V: If you could spend the day with one artist past or present who would it be?

SH: Sheila Hicks, a brilliant contemporary fiber artist.

You can check out more of Shaana's work at her website.

Shaana Hatamian, "Proximity" 2015

Shaana Hatamian, "Proximity" 2015


A big thanks to both Shaana & Neon Saltwater for taking the time to chat about their work with us!

The Blush Room curated show is up for just a few more days, be sure to stop and check out these talented artist's work.

An Interview with Ella Ordona

Shop Velouria

This month at Velouria we have a show curated by the online gallery space, The Blush Room. Hannah, our events coordinator has asked some of the artists included in the show a few questions about their work & art practice. First up, Ella Ordona! 

Garden I, 2014, Ella Ordona

Garden I, 2014, Ella Ordona

Velouria: How did you come to find photography/ what first attracted you to it?

Ella Ordona: I started photographing in high school but then came to really appreciate it during parties and social gatherings. I didn't have much formal training and started photographing friends and our lives as we were just hanging out, and every time I got images back from the lab, it was surprising to see this perfect encapsulation of a moment that was even beyond what I had anticipated. There would be things that I hadn't noticed at the time of capture: patterns, colors, even body language and facial expressions. 

Seattle, June 2013, Ella Ordona

Seattle, June 2013, Ella Ordona

V: Describe your process, do you have any specific rituals or routines?


EO: Over time, I've moved towards more anticipatory rather than reactionary work and go through a process of brainstorming, journaling and collection. For each project, I keep these separate handmade journals and scribble initial ideas and sketches. Color is a huge part of my work, so I'm constantly playing around with that. Finally, I do this sort of intuitive collection of objects that are somehow tied to these images. I'll pick flowers and dry them or take posters and flyers off of walls. A lot of refrigerator and pantry space is dedicated to these cans of soda and juice that somehow remind me of the images I'm making. 

My images are often reworked and I find myself being drawn to the same materials in my photographs again and again - last year, I was really obsessed with tin foil and it kept reappearing in my work.

Birthday Party II, 2014, Ella Ordona

Birthday Party II, 2014, Ella Ordona

V: Who are some artists/designers/writers/makers who inspire you?

EO: Right now, I'm super into Neon Saltwater, TUF, Satpreet Kahlon, Una Blue, Ashley Armitage. I just saw this exhibit in Vancouver by Bharti Kher that floored me.

V: If you could spend the day with one artist past or present who would it be? 

EO: This one's way too hard to answer since I feel like this changes on a daily basis. Today, it's Meriem Bennani. 

Garden II, 2014, Ella Ordona

Garden II, 2014, Ella Ordona

Thanks to Ella for sharing a little about her work, we're excited to see more!  Be sure to stop by and see Ella's work, it's up until the end of August. You can also find her on Instagram @ella0 and on the web at www.ella-ordona.com.

An Interview with Hannah Ruth Levi // The Dye is Cast

Shop Velouria

Hannah Ruth Levi, Bleach Warp #1, 2016, $360

Hannah Ruth Levi, Bleach Warp #1, 2016, $360

 

In July we are featuring weavings and paintings by Seattle artist Hannah Ruth Levi, who we are lucky enough to also have as our event coordinator at Velouria. Stop by to see the show (up through the end of July 2016) and check out our interview with her below about process and where she finds inspiration.  We, personally, can't wait to have a little extra time to delve into the artists' work that she's currently into. Enjoy!

//

Velouria: What attracted you to fiber arts/how did you find your way to this work?

Hannah Ruth Levi: My Mom was great at sewing and gave me my own sewing machine when I was small. I was never very good at it but when I was a freshman in college I happened upon fabric dyeing and then "Intro to Structure" which turned out to be weaving.  Weaving was the first time I felt challenged. It's hard to remember what I was drawn to originally - mostly I remember how it drove me crazy. Now I like the meticulous repetitive actions, the small rituals and being a part of something that dates back tens of thousands of years.  

V: Weaving requires, in some sense, a little planning since one must work from one end to the other--how do you plan out your pieces and how much do they depart from the original plan as you weave?

HRL: Weaving as a medium is very calculated, and admittedly I'm not the best planner.
There are three components of a weaving that have to be decided before I even touch the loom - the length of the entire weaving, the width, and how many threads per inch. Usually that is where my planning ends, especially with dyed warps. My dyed weavings are abstract, organic and the end result is somewhat of a surprise. These weavings are technically a "warp-faced" fabric, meaning the vertical threads dominate visually while the horizontal or weft threads are mostly hidden. Weaving these is pretty straight forward, the visual elements are already determined before the loom is dressed.
My tapestries are a different story, those are "weft-faced" which is the exact opposite ofmy dyed weaving. With these the imagery is more structural, building an image one thread at a time. For these the final product is much closer to the original sketch, but like I said I'm a bad planner so much of the time I just go for it. I have an idea of colors or textures, I'm developing my own visual vocabulary built on geometric shapes and symbols. Many of my tapestries now are about building compositions made up of these shapes.

V: What inspired this current collection?

HRL: This current collection of weavings is a further exploration of dyed/bleached warps, based on traditional Ikat techniques.  These weavings are about the process, the ways I tie the threads create the pattern. The bleach lifts different colors at different rates so the original navy became a dusty rose. The surface is uniform and flat but I wanted to see how much texture I could achieve. I wanted to get weird. 

V: Where do you look for inspiration in general?

HRL: I try to shy away from Internet Inspiration, I find that much of the time surfing the web induces more stress than productivity. I guess I try to find inspiration in what is around me, by existing in spaces that make me feel good. 

V: Do you listen to music or podcasts while you work?  If so, What do you listen to?

HRL: My studio is on Whidbey Island and when I work I'm there alone without internet or phone service so unless I want to talk to myself for days on end I need some sort of media company. Depending on my mood or what I have available I'll listen to podcasts or have TV shows playing in the background. My favorite podcasts include: Reply All, The Heart, Criminal, The Moth, This American Life, Planet Money, Fresh Air, Embedded, and various true crime. As far as TV it truly depends on my mood, but I consume a lot of junk since there is a lot of it and doesn't require my full attention.

V: Who's work do you find most inspiring right now--both locally and more broadly? 

HRL: Right now I'm inspired by the work of locals like Kelly Bjork, Joe Rudko, Kimberly Trowbridge, Neon Saltwater, the band Crater, Sara Long, Rachel Ravitch, Kate Wallich. There are too many to name. 
More broadly I'm really into weavers: Meghan Shimek, New Friends, Hannah WaldronHermine Van Dijck, Erin M. Riley, the Bauhaus ladies (namely Anni Albers and Gunta Stolzl), Gee's Bend Quilts, David Hockney, Nick Cave, Kehinde Wiley, Kindah Khalidy.

Hannah Ruth Levi's Loom and a work in progress.

Hannah Ruth Levi's Loom and a work in progress.

 

Thanks to Hannah for giving us a little insight into her work and new artists for us to check out! Be sure to come see Levi's show at Velouria through the end of July. You can follow her on instagram @decadeofindulgence and find her on the web at cargocollective.com/hannahruthlevi.