I’ve been an admirer of Ilka’s beautiful braid-in rag rugs for many years now. In fact, she was one of the people who first inspired me to have a go! As such, it’s well overdue that we do a textile artist Q&A with the lady herself! We don’t have a Ragged Life braid-in rag rug workshop scheduled at the time of writing this blog post (too many plates spinning), but the good news is that Ilka has an online class scheduled for this Sunday and next (13th & 20th October, 2024) if anyone is interested in learning. You can read more about that workshop’s details at the bottom of the Q&A. But for now, here is a Q&A with Ilka White, whose textile pieces of all mediums are just a joy to see…

Q&A with Braid-In Rag Rug Maker Ilka White

Hi Ilka, I’ve been an admirer of your work for a while now. Could you please tell our followers a little bit about yourself and your creative life please?

Sure! Thank you Elspeth. I’m an Australian artist and teacher, and my creative life revolves around textiles, sculpture, cross-disciplinary collaboration and art-in-community. I’ve made immersive work in response to Country and facilitated art projects and classes in regional and remote communities across Australia. Direct engagement with the natural world and a love for ‘primary’ skills and world textile traditions are central to how I live and make. These days, I’m focusing very locally on my community, my garden, and grassroots responses to ecological breakdown.

How did you first get into textiles? Have you always had a passion for it?

I think it started in childhood. I have vivid memories of exploring my mum’s fabric cupboard, which was like a treasure trove to me. Then as a teenager my first significant textile project, a patchwork coat of many colours, ignited my interest in working with textiles.

You seem to play around with a few different craft techniques – which ones have you tried over the years – any favourites?

I trained in handloom weaving, which is still quite central to my practice. I have found though that different ideas require different techniques or materials to express themselves fully. Over the years I’ve employed various basketry techniques, braiding, embroidery, natural dyeing, sculpture, installation, and even performative drawing. Each approach carries its own possibilities and associations, much like different materials do. I enjoy the versatility of switching mediums based on what the project calls for.

Are there any people / places / things you get your inspiration from?

So many! But world textile traditions, indigenous wisdom, deep ecology and the principles of sustainability are consistent threads. The diverse ecosystems across Australia and the Torres Strait have been particularly influential in my work. Another pivotal influence was a Churchill Fellowship journey almost 25 years ago where I learned alongside traditional weavers in Indonesia, India, Nepal, and Bhutan. That experience profoundly strengthened my appreciation for work that grows directly from the maker’s history, place, and cultural identity.

How do you approach your creative projects? Are you a planner?

My methods vary depending on the project. For commissions or curated exhibition works, there’s definitely a degree of planning involved. Some of my work though, is pure material exploration – a real flow state where the end product is a mystery to me for most of the process. I think the essential task of my best creative work is to submit to my role as a conduit and allow the work to change its own course, and me with it. Some of my favourite pieces have emerged from what initially seemed like mistakes!

What does your workspace look like?

My workspaces have evolved over the years. I taught for decades at RMIT University and the Handweavers Guild in Melbourne before leaving to freelance in all sorts of community spaces, public galleries, environment parks and country halls. A lot of my own work has been made out on the lands that inspired it, which has been an incredible experience. Since moving back to Djaara Country I’ve converted two bedrooms into a studio so I can work from home. Sometimes I weave out on my deck and my favourite loom has a special place in my living room, which feels right given weaving’s so integral to the rest of my life.

We love your braid-in rag rug creations. When did you first start experimenting with that technique? Was it difficult to learn?

I began experimenting with the braid-in technique about 15 years ago. The inspiration came from a blurred black and white image of an old rug I found online. Though I haven’t been able to relocate the image since, I remember a caption that said “so no need for stitching up afterwards.” This was a eureka moment for me, as I’d been pondering a way to join as I go. Teaching myself the technique involved some trial and error. While I’m not certain if my method matches that of the unknown maker, I’ve developed an approach that works well. It was challenging at first, but the satisfaction of creating without the need
for post-production stitching made it worthwhile.

Do you have a favourite braid-in project that you’ve made? Could you share the story behind it?

One of my favourites is the Mparntwe rug. Mparntwe is the Arrernte name for Alice Springs in Central Australia. I started this rug while working at a craft centre there, using scrap cloth from the ‘donations corner.’ I chose colours that mirrored the landscape visible from the window, so the rug embodies both the palette and spirit of that place. Another favourite is a small pocket I braided for my walks. It’s made from hemp cloth that I overdyed using Weld, a famous dye plant that grows as a weed in my area. This project reflects my recent focus on local plants, waterways, weeds, seeds, and compost.

Is there anything that you’ve made, whether braid-in or not, that was a complete disaster?

Absolutely! Though not a textile project, I once had a gardening mishap that’s memorable. I built my first vegetable garden in a reclaimed carpark and was thrilled with my beautiful multi-coloured, striped-skin pumpkins. I invited a dozen friends for dinner and spent hours preparing my home-grown produce, only to discover those decorative pumpkins were inedible, possibly even poisonous! The entire dish tasted like battery acid, so we ended up going out for pizza instead.

You’ve been quite innovative with different shapes in your braiding-in technique. Can you tell us about that journey?

It started somewhat accidentally during a teaching session in Western Australia. I casually suggested that you could “take your braid for a walk” – meaning you could create curves or corners as desired. One of my students took this idea literally, and together we delved into the complexities of shaping, which proved more challenging than we’d initially thought! Since then, I’ve been working with students on various forms like corners, squares, and reversing directions. It’s been a great exercise in problem-solving and creativity and has opened up new possibilities in design and functionality for braided pieces.

Is there a specific project on your wish list for the future?

I’d love to braid a runner for my hallway. It’s going to be a long-term project!

Do you have any tips for someone making a braid-in rag rug for the first time?

The key to a flat rug is maintaining the right shape as you work. Aim for a snail shell shape with a 45-degree lip. Keeping this angle consistent as you braid around is crucial for ensuring your rug lies flat. Also, be mindful of your tension when weaving your rag through. If you pull too hard, you might end up with a basket instead of a rug – though that can be a happy accident leading to a different kind of project!

What do you love most about teaching textiles?

I’m passionate about the power of connection, and I believe textile-making offers a unique way to connect – both with each other and with a rich historical lineage of cloth-making that extends far beyond our individual lifespans. The COVID-19 pandemic led me to explore online teaching, which has been surprisingly rewarding. I’ve been able to share my classes with people worldwide, creating a global community of creators. There’s something magical about gathering with people in different time zones, all united by our shared love of creating and our connection to this incredible planet we call home.

And finally, you’ve got an online course coming up, would you mind telling us a bit more about that please?

Certainly! My next Braided Rag Rug Workshop is for people in your part of the world. It’s a two-part course: next Sunday covers rug beginnings and braiding basics, while the following Sunday explores design possibilities, tricky techniques, and rug finishing. We’ll be covering a range of pattern and design possibilities. Many participants share their progress on Instagram using #RugsWithIlka, which has become a great source of inspiration for the community.

As you know so well, rag rugs are an excellent way to recycle old clothes, so the workshop is perfect for those interested in sustainable crafting. The spiral-woven technique we use doesn’t require a loom, and weaves in as we go so there’s no need for post-production stitching. The course runs over two Sunday mornings for participants in the UK, Europe, and Africa, afternoons from India to Japan, and evenings for me here in Southern Australia. Participants bring their own materials to recycle. It’s a wonderful opportunity to rediscover the potential in what might otherwise be discarded! For those interested, find info and register here.

Thanks so much Ilka!

Click here to visit Ilka’s website or follow her on Instagram here.

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Happy rag rugging!

Elspeth x