How A Seattle Maker Interlinks Weaving And Architecture


Portrait of textile artist Ozana Gherman, with spools of yarn in background

Portrait of textile artist Ozana Gherman.

Woven yellow textile with brown edges and fringe hanging against a concrete wall

Example of Ozana Gherman’s textile work.

For Seattle-based Ozana Gherman, textiles have long been the connective fabric between her heritage and her creative practice. Hailing from Canada by way of Romania, Gherman grew up around crocheting and weaving, formally studying textiles at the Ontario College of Art and Design University. Eventually settling on a career in architecture, weaving continues to underpin her design work as she explores the interplay between textiles and the contexts in which they are made.

What initially drew you to textiles? The women in my family crocheted intricate housewares that were passed through generations. In college, I connected with the medium instantly.

Where do you draw inspiration? Whether it’s contemporary art or architecture, historical symbols, cultural references, or local materiality, the power of place is a strong influence.

How does your textile practice inform your work as an architect? For me, weaving and architecture are interlinked—they are an evolution of one another. Weaving has led to a sense of restraint in my architectural work.