The Power of Recycling in Art

Jill's ‘Consumer Cloth’ series explores waste and sustainability by using found materials like cardboard. Through resourcefulness, she highlights our excessive consumption, inspiring a new approach towards material culture. Her work is a testament to redefining value and encouraging responsibility.

1. Can you elaborate on how your early experiences at Interlochen Arts Academy under Lina Dean’s mentorship have influenced your approach to weaving and sustainability in your current practice?

Do you recall the first time you excelled at something? Maybe it was that moment when everyone else in the room seemed to be struggling or confused, but you found yourself cruising along, ready for the next set of instructions. It happened for me in the fall semester of my junior year at Interlochen Arts Academy, in Lina Dean’s weaving class. Her class shaped my path in higher education and led me towards a career in the arts, much like hers as both a practicing artist and educator. I don’t think sustainability was a word when I was Lina’s student, but every May a ritual unfolded—the dismantling of the looms, carefully packed away for safekeeping over the summer months. Under Lina’s watchful eye, students were required to participate in this exacting process, ensuring each component found its place in storage. Then, with the arrival of fall, the scene reversed as the studio buzzed with activity once more. Like a conductor guiding a disparate orchestra, Lina coordinated the assembly of the looms, infusing order and purpose into the chaos of scattered parts. And so, on the first day of class, there we were, met with the task of constructing our primary instrument—the loom. It was our rite of passage. With each pedal and heddle meticulously positioned, the loom emerged as more than just a machine—it became the focal point of our artistic journey. Hours upon hours were spent in its presence, as we delved into the intricacies of its operation. Like our peers in the music department, we would practice, each movement of warp and weft revealing new possibilities. With each thread and shuttle, the loom became an extension of our hands, allowing us to bring the visions in our minds to life through intricate patterns and textures. In Lina’s studio, the loom was not merely a tool—it was a conduit, a vessel through which we could channel our aspirations. With each thread woven, we discovered the transformative power of craftsmanship, and the profound connection between hand, heart, and loom.

2. In what ways has your diverse professional background, from designing window displays at Neiman Marcus to freelancing in New York, shaped your artistic vision and your approach to teaching at Tulane University?

I owe much of what I know to my time at Interlochen and my experience working with my second mentor, David Hoey, as his assistant at Neiman Marcus. Fresh out of college with a BFA, I thought I had it all figured out. I quickly realized how little I knew. David was the first person to make me repeat a task over and over—second, third, and even fourth attempts—until it was flawless. He watched closely as I cut foamcore to meet his exacting standards. The hours we spent working in the display windows were some of the hardest I had ever worked. It was like redecorating a dozen rooms in a house each week, from paint colors to lighting, furniture, props, and upholstery—the list was endless! I had never even set foot in a Neiman Marcus before this, but suddenly I found myself on the Couture floor, working with our stylist Ray Souders, who taught me to appreciate the exquisite details of a Chanel suit or a Chloé cocktail dress. I learned about designers like Giorgio Armani and Thierry Mugler in ways that went beyond textbooks. It was an education in storytelling—David always said we had just 30 seconds to tell a compelling story because that’s how long passersby had as they walked or drove past the windows on Commerce, Ervay, and Main Streets of downtown Dallas. One of the most valuable lessons I took from that experience—and one I pass on to my students—is that nothing is precious. Making is transient; nothing is permanent. By the time you get comfortable with what you've created, it's already time to tear it down and start over.

3. Your "Consumer Cloth" series addresses issues of consumption and waste. How do you balance the aesthetic aspects of your work with its environmental message, and how do you hope viewers will engage with this message?

We cannot reconcile our insatiable appetite for material possessions with our constant expressions of concern about climate change. Something has to change. Through my "Consumer Cloth" series, I hope people see themselves reflected in the work. By taking something common and ordinary—cardboard—and recontextualizing it as something beautiful, I aim to hold up a mirror to our consumption habits. The recontextualization is intentional—what is usually discarded becomes a symbol of both the problem and the potential for change.

4. With the increasing use of digital tools in design, how do you integrate traditional weaving techniques with modern digital design in your teaching, and what challenges or opportunities does this integration present?

I integrate traditional weaving techniques with modern digital design by extensively using digital tools in my current work. I draft patterns at scale using Adobe Illustrator, print them on large-format printers, and employ a laser cutter to create the cardboard strips that serve as my warp and weft. Weaving, after all, is the original binary language! In my teaching, I emphasize the importance of dexterity in moving seamlessly between analog and digital mediums. While we have advanced technologies at our disposal, humans still experience the world through our five senses, and it's crucial to design with that in mind. I encourage my students to take as much care with their tangible creative work as they do in curating their social media personas.

5. As a Professor of Practice in Design, how do you encourage your students to explore the intersection of creativity and sustainability, and what advice do you offer them for developing their own unique artistic voices within this framework?

In the studio course I developed in 2018, Fundamentals of Design and Making, I emphasize the importance of creative bravery. While some might view this approach skeptically, I recognize that students often fear stepping outside established boundaries. I remind them that in design history, we only study the individuals who were daring enough to "color outside the lines." Those who play it safe rarely make an impact. I encourage my students to see themselves as creators of culture, not just customers. Rather than using their privilege to promote the latest brand, I advise them to collaborate with non-profits that could benefit from their skills—whether by designing a logo or creating a visioning document for a fundraising campaign. Finally, I share a personal story about a Fulbright Scholar friend with whom I once went dumpster diving in Queens, gathering materials for a workshop. I tell them, "If she can do it, so can you." In my own practice, I follow the same principle: use what the world has too much of. This approach not only fosters creativity but also encourages sustainability.

6. Get inspired!

INSTAGRAM: @jillstollcollage
WEBSITE: jillstoll.com
REPRESENTED BY: Flavio Dolce Art Projects