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You’ve arrived at the digital1 lilypad of Rosemary Wexler. Welcome!

1. As in, made with fingers and toes. ☝︎

Right now, I’m letting myself play on the loom, without pressure or perfectionism, for the first time in what feels like a while. Ironically, of course, the outcome will probably be highly structured.

August 1, 2025 ... getting inspired at the Textile History Forum
June 16, 2025 ... learning timber framing for loom maintenance
May 22, 2025 ... darning “a play on denim”

I weave functional, historical, and ritual cloth on a barn loom2. Since 2019, my craft home has been Marshfield, Vt, where I studied under Kate Smith and Norman Kennedy.

2. A genre of technology from early “New England,” often timber framed and fitted to individual weavers. ☝︎

a white trans woman stands inside the wooden skeleton of a loom. in the middle of working the threads, she looks up at the camera. her curly hair is still drying. the studio is full of winter light and warm wood.

a white trans woman stands inside the wooden skeleton of a modern loom (belonging to Noel Guetti). in the middle of working the threads, she looks up at the camera. her curly hair is still drying. the studio is full of winter light and warm wood.

This niche practice has taken me many places, including restoring Laura Ingalls Wilder’s daybed, researching spider minds in Scotland, listening to looms for Montez Press Radio, and helping to develop the next generation of programming at the Weaver's Croft.

How is heritage artisanship like a river? Or a hocket with many voices?

What subtle insights hide in the technical, material, and interpersonal webs of production weaving?

What if we took the embodied transmission of living craft knowledge as our raw material?

I am available for…

establishing and developing weaving programs at schools and cultural institutions;
researching historic cloth and designing new cloth for high-functioning design houses;
facilitating writing, performance, and experiential workshops about artisanship, technology, animacies, and critical social histories of textile practice;
recovering institutional craft heritage; integrating craft futures in institutional visions;
documenting living traditions; arranging and sharing oral history and other archives;
teaching barn loom technique and organizing the affairs of ethically aligned weaving schools.

To explore more textiles, visit Meet me in the loom. For my off-loom studio, see Orb web. And please weave me a message via email.

September 7, 2025