a chinwag with sophie travers, co-ceo of the australian tapestry workshop
We caught up for a chat with the head honcho of the Australian Tapestry Workshop.
Tell us about the Australian Tapestry Workshop and what goes on there. The Australian Tapestry Workshop (ATW) is an international leader in contemporary tapestry, collaborating with a diverse range of Australian and international artists to produce exceptional handwoven works of art. Established in 1976, we’ve created more than 500 tapestries over nearly 50 years, and we remain dedicated to innovation and excellence in tapestry weaving and textile art.
Located in Melbourne/Naarm, our open studio, bespoke dye lab and gallery spaces form a vibrant hub for creativity and engagement. Alongside our weaving studio, we run exhibitions, talks, classes and artist residencies. People often describe the ATW as a place where ideas, colour and craftsmanship come together – and that’s exactly how it feels when you walk in.
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What makes Australia’s tapestry industry unique? In Australia, there really isn’t a tapestry “industry” in the traditional sense – it’s the ATW. We’re the only tapestry workshop in the Southern Hemisphere, and one of only a handful of such workshops in the world. What makes us unique is not just the rarity of our craft, but also the way we practise it: artist collaboration is at the core of everything we do. Our weavers work closely with artists to translate their vision into tapestry, creating something that is both faithful to the original artwork and enriched by the qualities of the woven medium.
We’re also one of the only workshops with an on-site dye lab, staffed by trained colour specialists who create custom colours for our weavers on demand. This allows us to produce subtle, painterly palettes that simply aren’t possible off the shelf.
Within Australia, we occupy an unusual – and significant – position. One week we may be creating a 10.5-metre tapestry for a major public space – like the new Footscray Hospital, a project requiring around 12 weavers and over 14 months of labour. The next, we may be working with an artist on a small, intimate tapestry designed to sit in a domestic setting – like our recent collaboration with Yvette Coppersmith for her exhibition Volle au Fond at Sullivan+Strumpf Melbourne, woven by a single weaver over 10 weeks. That range is part of what makes the ATW so distinctive.
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In an increasingly digitalised world, why are tangible art practices like weaving increasingly important? Tangible, handmade practices offer something increasingly rare: slowness, tactility, and a direct connection between maker, material and viewer. In weaving, time is literally embedded in the work; every decision, every gesture and every thread accumulates into something meaningful. For artists, this offers a way to reconnect with materiality and reconsider their practice in a new medium. For audiences, tapestry invites a more intimate, embodied kind of looking. People instinctively lean closer, noticing the shifts in colour and texture. In a fast, screen-saturated world, these experiences feel grounding and deeply human.
How do you communicate the value of a labour-intensive artform like tapestry to modern audiences? We find that transparency is key, inviting people to witness the process rather than only the finished tapestry. When visitors see our weavers at the loom, watch colours being blended, or learn that a large work can take more than a year and a dozen weavers to complete, they gain an immediate sense of the skill, patience and collaboration involved.
We also focus on storytelling, sharing the artist’s intent, the conversations and decisions that shape the collaboration, and the technical and creative steps that transform an idea into a woven artwork. When people understand that dialogue between artist and weaver, and the artistry required to translate one artwork into another entirely unique form, they begin to see tapestry not as a historical craft but as a living, evolving contemporary artform.
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The ATW is also home to a mezzanine area where visitors can stop by to observe the weavers at work. Why is community engagement important to the ATW in this way? The mezzanine allows visitors to witness the weaving process firsthand, demystifying a centuries-old artform and creating a sense of openness, generosity and shared learning. Inviting the public into our working studio helps preserve the tradition of tapestry by fostering understanding, appreciation and curiosity. It also reinforces that the ATW is not just a production space – it’s a cultural resource; a place where people can connect with creativity in real time. It’s something genuinely special, and we want as many people as possible to experience it.
For inspired visitors who want to try their hand at tapestry, where should they start? Visit the ATW! You can begin simply by having a go on our community loom on the mezzanine – it’s an easy, no-pressure way to get a feel for the medium. We also offer Weaving Play Workshops – a free community program designed to offer a joyful, accessible entry point into creativity. There’s no experience needed, very little English required, and participants of all ages and backgrounds are welcome. People sit together with colourful yarns and textiles, guided by our weavers and local volunteers. It’s hands-on, relaxed and social.