American textile artist Liz Alpert Fay employs a range of techniques including traditional rug hooking techniques in various forms to “challenge conventional ideas about what a hooked rug is, and how it functions.” Nature is a major influence in her work as well as current issues she feels strongly about. As well as exhibiting in many exhibitions her work is in many collections including The White House.

Firstly where did you grow up and where do you live now? 

I grew up in Connecticut, moved away for college, then moved back to Connecticut to raise a family. I still live here now.

What is your background in textiles?

I began my formal studies in art at Philadelphia College of Art, and then went on to study Weaving and Surface Design at the Program in Artisanry at Boston University, where I earned a degree in Textile Design.

What is it about textiles as an art form that appeals to you? 

I love the richness of hand dyed colours, and the varied textures of recycled fabrics. I like the idea of incorporating discarded clothing and other textiles that already have a history of their own.

I enjoy working in traditional textile techniques, and find myself intrigued by techniques that are lesser known. I like to experiment using these techniques in new ways, keeping them alive and relevant by incorporating them into my work in a more contemporary way.

What techniques do you use? 

Currently I am primarily working in the technique of traditional rug hooking, creating large- scale contemporary works meant for the wall and for installations. I am also creating smaller sculptures and wall pieces using the techniques of punch needle embroidery, hand embroidery, applique, and mixed media.

How do you describe your work ?

For years I’ve been passionate about promoting innovation in the field of traditional rug hooking. I am particularly interested in challenging conventional ideas about what a hooked rug is, and how it functions. By creating unusually shaped rugs, cutting and binding holes, and combining the hooked textile with sculptural and mixed media elements, I strive to create a more interactive environment where the rug is no longer just a covering for the floor. 

All my works tell a story, and although nature is my main source of inspiration, many pieces reflect my views on life, and enable me to comment on issues that are important to me.  Also, since 2006 I have been creating large- scale portraits of women I know and admire. I hope to complete this series in the next couple of years. 

How do you create a piece?

The first step for me when creating new work, is to mull the concept around in my mind until I have a clear idea of what it is I want to say. Next, I think about the materials I might use, and the various ways the piece might be constructed. In each new work I set up technical and visual challenges for myself. When I think I have formulated a plan, I draw the design full scale, or use my computer and Ipad to get the design underway.

Once the design is completed, I gather my materials around me, and choose the colours intuitively as I work. It’s important to me that the finishing is as well crafted as the artwork, as it sometimes plays an integral part in the construction of a piece. 

I know this is a hard question but how long does a bigger piece take?

During the Pandemic I created my largest piece to date. I was very focused and worked on it consistently almost every day. It took 11 months to complete. Usually my work takes 2-4 months to complete.

What are you most proud of in your art career so far?

I’ve had a lot of highs (and lows) in my career. I guess I’d have to say I’m most proud of a recent “Artistic Excellence Award Grant” from the State of Connecticut with support of the Department of Economic and Community Development, Office of the Arts.

Do you have any advice for aspiring textile artists?

Work from the heart and don’t be afraid to make mistakes.

www.lizalpertfay.com

https://www.instagram.com/lizalpertfay/

Instagram (Current series in progress) #ordinaryextraordinarywomen