Rosa Romeo
Rosa Romeo is a UK-based textile artist specialising in handwoven tapestries that explore themes of gender, the body, and politics. A self-taught weaver with a background in printmaking,
Her latest collection delves into the concept of the 'empty cup,' using weaving and three-dimensional forms to explore themes of fragility and resilience.
Rosa’s work reflects a deep connection to heritage crafts and honours ancient & artisanal textiles, with 5% of profits supporting Indigenous groups.
Where are you based?
Frome, Somerset.
Frome, Somerset.
How long does each piece take to make?
Months, weeks, hours, all of the above.
Months, weeks, hours, all of the above.
Did you study design anywhere or are you self taught / naturally fall into this work?
I studied printmaking at UAL, then after working as a screen print technician for some years I fell in love with the woven qualities of textiles, in particular this raw Chinese silk that I digitally printed a golden ombre effect onto for a client - I’ll never forget that. After that, I did a class with Caron Penney(icon) on tapestry weaving and continued to teach myself.
How does your design process work from idea to finished product?
I think of my favourite ideas when I'm drifting off to sleep. Some nights I scribble notes & drawings in my phone & try to work on them as soon as I can. I don't often make plans when I'm weaving & definitely break a lot of weaving rules, but I challenge myself & learn a lot more when I don't follow rigid patterns or plans. People who know me might laugh at that because I'm such an organiser! But messing around with yarns is my happy place where I don't have to follow my own or anyone else's rules.
What do you listen to or watch while you work?
It depends on the task, some parts end up being very complex and actually require quite a lot of maths, so in those moments I just work in silence and focus. My partner taught me a phrase recently and I think of that a lot - ‘attention on the working surface’.
Who inspires you?
In general, anyone who's working with their hands & trying to keep a craft alive. I’m lucky to know some very talented artists who inspire me endlessly. Japanese Shibari and Kinbaku, Alber’s knot theory and French Passementerie have all influenced my collection of knots. I also have to mention Ed Ruscha and Ai Wei Wei whose work has been a major influence for me ever since I was at art college, they were like the gateway into contemporary art for me as a 16 year old obsessed with Constructivism and Typography.
Where did the inspiration for your pieces on the C et C website come from?
I studied printmaking at UAL, then after working as a screen print technician for some years I fell in love with the woven qualities of textiles, in particular this raw Chinese silk that I digitally printed a golden ombre effect onto for a client - I’ll never forget that. After that, I did a class with Caron Penney(icon) on tapestry weaving and continued to teach myself.
How does your design process work from idea to finished product?
I think of my favourite ideas when I'm drifting off to sleep. Some nights I scribble notes & drawings in my phone & try to work on them as soon as I can. I don't often make plans when I'm weaving & definitely break a lot of weaving rules, but I challenge myself & learn a lot more when I don't follow rigid patterns or plans. People who know me might laugh at that because I'm such an organiser! But messing around with yarns is my happy place where I don't have to follow my own or anyone else's rules.
What do you listen to or watch while you work?
It depends on the task, some parts end up being very complex and actually require quite a lot of maths, so in those moments I just work in silence and focus. My partner taught me a phrase recently and I think of that a lot - ‘attention on the working surface’.
Who inspires you?
In general, anyone who's working with their hands & trying to keep a craft alive. I’m lucky to know some very talented artists who inspire me endlessly. Japanese Shibari and Kinbaku, Alber’s knot theory and French Passementerie have all influenced my collection of knots. I also have to mention Ed Ruscha and Ai Wei Wei whose work has been a major influence for me ever since I was at art college, they were like the gateway into contemporary art for me as a 16 year old obsessed with Constructivism and Typography.
Where did the inspiration for your pieces on the C et C website come from?
After I lost my Mum a few years ago, I could barely contain the thoughts and feelings in me. These little pots were a sort of way of realising those emotions, many of which remain unresolved and potent. These little pots were a study on how we hold grief and what our capacity is to contain it.
How do you overcome creative lulls?
How do you overcome creative lulls?
This is a really hard one for me, the lulls can feel overwhelming sometimes. I’m learning to combat that capitalist productivity problem and I try not to create when I’m not inspired, but instead to absorb - images, nature, textures, food. I tidy my studio which usually helps.
What is your favourite material to work with and why?
Linen, and slubby yarns that show off their irregularities, but I love all bast fibres really. Also at the moment I'm obsessed with cotton gima, there's something in how it layers upon itself and creates these dynamic shadows, a suggestion of depth from a material that is flat.
Do you have other projects in the pipeline?
I have a huge frame loom and some ideas for much larger scale tapestries that I want to make, kind of like maps of people, territories and heritage. I’ve not worked at that scale before so it will be a huge challenge.
What are you reading at the moment?
I’m always reading 100 books at once, but here are some of my recent favourites:
-Witches, Sluts, Feminists by Kristen J Sollee
-Diasporic Threads by Dr Sharbreon Plummer
-Females by Andrea Long Chu
Do you have any tips you'd like to share with other artists?
Work at your own pace. Ask creative peers for feedback. Don’t forget your roots.
Linen, and slubby yarns that show off their irregularities, but I love all bast fibres really. Also at the moment I'm obsessed with cotton gima, there's something in how it layers upon itself and creates these dynamic shadows, a suggestion of depth from a material that is flat.
Do you have other projects in the pipeline?
I have a huge frame loom and some ideas for much larger scale tapestries that I want to make, kind of like maps of people, territories and heritage. I’ve not worked at that scale before so it will be a huge challenge.
What are you reading at the moment?
I’m always reading 100 books at once, but here are some of my recent favourites:
-Witches, Sluts, Feminists by Kristen J Sollee
-Diasporic Threads by Dr Sharbreon Plummer
-Females by Andrea Long Chu
Do you have any tips you'd like to share with other artists?
Work at your own pace. Ask creative peers for feedback. Don’t forget your roots.
Find our curated collection of Rosa Romeo's beautiful handwoven vases and tassels here.
