View of studio wall. Photo courtesy of artist Melissa English Campbell
"Working at the intersection of painting and weaving has an abstracting effect and makes room for more expression."
Melissa English Campbell is a visual artist known for blending traditional weaving techniques with painting to create woven portraits and landscapes that shift into abstraction and geometric patterning. Inspired by abstract impressionist painters, she explores our relationships with society and the environment.
“Weaving requires the orderly movement of multiple methodical systems to transform yarn into a stable structure,” Melissa explains.
By painting directly onto the yarns before weaving, she introduces chance and disruption into the mechanical, creating dynamic pieces that reflect the psychological states we experience when asking deeper questions.
Through her intricate and thoughtful process, her work invites viewers to engage with these visual conversations, where patterns are both disrupted and redefined.
Artwork Archive had the chance to chat with Melissa about her creative process, how she came to combine these two mediums, and how Artwork Archive helps her manage her art career.
You can see more of her work on Discovery and learn more about her art practice below:
Melissa English Campbell in her studio. Photo courtesy of the artist
Can you walk us through your creative process? Do you have a favorite part of your process?
Most pieces start with a dream.
In my dream, moods, patterns, stories, people, colors and shapes weave in and out of each other, and eventually, I see a way to recreate it in my studio.
I make some sketches and get to work painting yarns, weaving, and working back into the woven surface.
My favorite part is painting, but I also find weaving really grounding, so that is a favorite part of the process too.
How did you first discover the connection between weaving and painting and what inspired you to blend them in your practice?
In grad school, I learned to dye yarn and weave.
I realized that if I could thicken the dye, I could paint with it and achieve a wider range of effects on the loom than what I was getting from dunking the yarn into dye pots.
After a few years of trial and error, I've developed a system and formula that works well for me.
Melissa English Campbell, Flight, 46 x 48 x 1 in
You reference early Impressionist painters and sculptors. Can you elaborate on what aspects of their approach resonate with you?
I resonate with the early Impressionist painters who focused on the fleeting, momentary experiences of a scene.
My portraits also depict the momentary—whether it's a feeling, thought, or movement—and feature a lot of color and edge shifts, creating a visual effect similar to an Impressionist painting.
The weaving process enhances this effect by layering colored yarns, resulting in a pixelated, value-shifting phenomenon.
By subjecting my painted yarns to the weaving process, they become part of a patterned substrate that aligns with the Impressionists' desire to depict sensation and perception, valuing it over realism.
Working at the intersection of painting and weaving has an abstracting effect and makes room for expression that emphasizes the interaction of pattern, color, form, line, and texture to convey meaning.
What impact do you hope to have on those who view your artwork?
In my work, I aim to engage viewers on multiple levels.
Through painting, I tell a story and engage through color.
Using yarn as my canvas introduces the language of tactility, drawing on the familiarity and universality of our experiences with fiber and cloth.
The final layer is the patterning and abstraction generated by the weaving process. I use a weave structure that creates an undulating visual phenomenon and gives the illusion of movement, inviting questions about perception.
Melissa English Campbell, Thoughts, 46 x 48 x 1 in
In hindsight, what’s something you wish you knew before becoming a professional artist?
I wish I had known how isolating working alone in a studio every day can be.
The long-term impact on community building and networking presents some challenges.
What do you think is the most misunderstood aspect of being a professional artist?
I think people are surprised to learn how similar being an artist is to being a small business owner.
We both have to market, network, and prospect. We both have to file taxes, do bookkeeping, and maintain professional relationships.
We both have to source materials, figure out pricing, track inventory, work with subcontractors, and handle shipping, deliveries, and invoicing.
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Melissa English Campbell, Cure, 13.5 x 19 x 2 in
Was there a specific instance or time you realized you needed something like Artwork Archive to inventory your artwork and manage your art career?
Initially, I was drawn to Artwork Archive because of the Private Viewing Room feature. Previously, I had been putting slide decks together and sending links or PDFs.
Private Rooms let me build curated spaces with links to more images and details about the work. I was looking for better interactions with curators, and this tool made a difference.
I also wanted a more professional way to send invoices, and I appreciate that the invoices in Artwork Archive are customizable, including the option to add a 'pay now' button.
What is your favorite Artwork Archive feature?
I use most of the features of Artwork Archive.
I've already mentioned the Private Rooms and Invoicing features, but a nerdy part of me also really finds the inventory numbering system incredibly useful for tracking how many pieces I've made so far this year.
To generate inventory numbers I use the last two digits of the year and then number each piece sequentially throughout the year. So, today I can tell you that I entered piece #2414 into my Artwork Archive account, which means I have made 14 pieces so far this year.
This system helps me with ordering supplies and also gives me a little boost when I see what I've accomplished.
With All the Features Artwork Archive Offers, It's Tough to Choose a Favorite:
Private Rooms and Invoicing are game-changers. And that's just the start—so many features, like the artist-favorite Inventory Report help you track your work, monitor sales, and present yourself as the professional you are.
Melissa English Campbell, Simone, 17 x 16 x 1 in
What advice would you give an artist who’s just starting out in their professional career?
I would encourage anyone just starting out to pay equal attention to four things:
One, stick with the art—keep making no matter what.
Two, show up for other artists and gallery owners by going to openings and open studios.
Three, invest in building a network of long-term relationships with people with whom you can share feedback and opportunities.
Four, set up your "back office" early—this should include archiving images of artwork for quick, easy access, bookkeeping, and putting systems in place to keep the administrative side from becoming overwhelming when things get busy.
Starting Out Can Feel Overwhelming, But Tools like Artwork Archive Can Make it Easier...:
Setting up your "behind-the-scenes" with a system specifically designed for artists will help you stay organized when things pick up. Plus, you'll start building your artist legacy early, so you don't have to back-track later in your career
Studio wall. Photo courtesy of the artist
Melissa English Campbell uses Artwork Archive to professionalize her practice, showcase her artwork to curators, and more.
You can make an online portfolio, catalog your artwork, and generate reports like inventory reports, tear sheets, and invoices in seconds with Artwork Archive. Take a look at Artwork Archive's free trial and start growing your art business.
