We’re excited to introduce you to the always interesting and insightful Alicia Brown. We hope you’ll enjoy our conversation with Alicia below.

Alicia, thanks for taking the time to share your stories with us today What’s been the most meaningful project you’ve worked on?

Last year, I finished a Collection of work entitled “Guided Rock,” a series of wall sculptures combining free-form plaster and Navajo Churro wool. This Collection was incredibly meaningful because the wool was sourced from The Guided Rock Farm. Guided Rock is located in Northwestern Nebraska, and the young, first-generation farmers Christy and Benton practice regenerative farming. As part of this practice, they integrate livestock into their cropping system, ensuring the land is pesticide-free with little to no-tillage. To say they are incredible stewards of the land is an understatement. The animals under their charge are well cared for and treated with deep kindness and respect. Fortunately for me, I am a recipient of spring and summer shears. The Navajo Churro, which is one of the oldest sheep breeds in North America, was brought by the Spanish in the 16th century. These sheep are integral to the Navajo people and their culture, providing wool for the tribe’s renowned weaving traditions. This beautiful wool adds texture, depth, and warmth, especially in its raw form. The wool is particularly suited to large installations, adding a softness to large spaces without being intrusive or distracting from a minimalist design scheme. The wool also helps absorb noise in commercial settings or the “echo” found in many new, large, contemporary homes. The juxtaposition of the wool with the free-form plaster provides a serendipitous synergy. The pieces in this Collection are grounded but whimsical, drawing the viewer in to take a closer look and, quite often, a soft touch.

Alicia, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

After a decade-long legal career and additional time as a business owner, I found myself at the helm of an unassuming loom. However, it wasn’t until my daughters were grown that I leaned into fiber art full-time. Drawn to tactile signals, patterns, textures, and motion, my work is slow and meditative. I use a variety of sustainable fibers, textures, and methods to create depth and interest in my wall sculptures. Grounded on the premise that fine art should drive sensations, thoughts, and feelings, my process is mindful yet intuitive. I am inspired by comfortable sophistication and open spaces, and my work prompts the viewer to slow down. Deeply committed to ethically sourced products, I work with suppliers and farmers who are deliberate stewards of the earth and care deeply for the animals under their care. Many of my pieces incorporate raw wool, most of which comes from the Navajo Churro sheep, a heritage breed known for its beautiful fleece. If I’m not using wool, whenever possible, I use other sustainable natural cellulose fibers like tencel, ramie, flax, hemp, and bamboo. Not only are these fibers compostable and biodegradable, but whether felted, woven, or knotted, they add incredible depth and interest to my pieces. Much of my work celebrates the possibilities of and is informed by the natural world, and it is very important to me how it is created—from sourcing to application. Everywhere along the creative process, I am sincerely invested in how and what I choose to work with, as well as the natural fabrication techniques that go into each piece. Tying all of this together is the root of my vision—to act ethically and proceed delicately.

This year, I began working with and am now represented by Normal Royal Gallery, based in Colorado. With a history spanning over two decades, the Gallery has an eye for and represents emerging and mid-career artists who present sincerity and authenticity in their work and has curated a roster of talented artists who share a synergistic energy. In the short time I’ve been with the Gallery, I have grown as an artist and am constantly being nudged to stretch my work and perception.

Ancient textile traditions like weaving, felting, and knotting run through the fabric of civilization and have a deep-seated history. However, in recent years, these traditions have finally been elevated from craft to fine art. I am proud to be an artist who incorporates these traditions into my work and brings the beauty and diversity of fiber into the fine art world.

What can society do to ensure an environment that’s helpful to artists and creatives?

Perhaps the most important is to establish robust funding, including grants, artist residencies, collaborative projects, and fellowships, particularly for those underrepresented in the art world. For years the industry has been plagued by a lack of diversity and inclusivity. While advancements have been made, we must work diligently to continue opening doors and hold art institutions accountable for their inclusivity and transparency practices. We must invest in arts education at all levels, from primary schools to higher education institutions, including access to quality training and mentorship. Public Art Initiatives also play an important role in nurturing a creative ecosystem. Integrating art into public spaces through projects and commissions allows artists to contribute to their communities and gain visibility. Encouraging community engagement through festivals, workshops, and public performances also helps build an appreciation for the arts and creates opportunities for artists to connect with audiences. Fortunately, there are now many art fairs throughout the county that allow emerging artists to participate who do not have Gallery representation. This access is very important. However, we must strive to make them affordable and not cost-prohibitive. Finally, mental health support for artists is important. We spend so much time alone in our studios working, re-working, and second-guessing. Artists experience unique challenges. Peer support groups and initiatives could be very helpful.

Is there something you think non-creatives will struggle to understand about your journey as a creative?

While being an artist is a passion, it is not a hobby, it is a full-time (and then some job). There is often the misconception that artists are merely free spirits flitting from one exhibition opening to the next, or worse….they refuse to get a “real job.” This could not be further from the truth. We encounter many of the same challenges faced by CEOs, business owners, educators, and public servants. Many artists have had years of formal education and training, some even more than top business executives, lawyers, or doctors. We have project deadlines and need to maintain budgets. We need to meet client expectations and approval while overseeing our marketing, sales, accounting, and networking. It is undoubtedly a real job with stress, chaos, and long hours spent alone in our studios, working and reworking pieces, often feeling vulnerable and unsure. We are our own worst critics. However, when a project or a piece we have been working on for weeks, even months, comes together, and we step back and say, “Damn, that is amazing; I created that.” the feeling is euphoric. For me, this is Chapter 2 in my life. My children are grown and away from home, so I am often asked why are you working so hard NOW? Don’t you want to slow down? Enjoy your life? My answer is always I AM enjoying my life. Yes, it’s chaotic and stressful, but it fulfills me more than my past career as an attorney ever did. I thrive on challenges and dive deep into everything I do my art is no exception.

Contact Info:

• Website: aliciabrownfiberartist.com; represented by Normalroyalgallery.com
• Instagram: aliciabrown.fiberart; normal_royal

Image Credits
artist photos and vessels: Carolyn Pelkey