Stitching Seasons: How Fiber Artist Deb Herman Captures the Cycles of Life in Western North Carolina

When Deb Herman walks through the woods of Western North Carolina, she isn’t just enjoying a scenic hike. The Weaverville fiber artist, bookbinder, and former educator is collecting ideas for the plant-inspired textiles she creates in her methodically organized studio.

“Observing the landscape keeps me informed and producing,” Deb shares, recalling a transformative period of solitude spent in a cabin in the Western North Carolina mountains. “It was an interesting seven weeks that both inspired and stretched me on many levels. The walks in the woods provided endless inspiration, and I had uninterrupted time to execute new works. It’s easy for me to work all day in my home studio, but I make it a priority to try to get into the woods as much as possible.”

This deep connection with nature fuels Deb’s practice year round and profoundly influences the thematic evolution of her work. Crafted with everything from silk and pearls to dirty, discarded towels, Deb’s textiles and handmade books embody the quiet, transitional moments found in nature, reflecting the ever-changing rhythm of the seasons in Western North Carolina. She keenly observes these cycles during her walks, noting how her work transforms in response to the world around her. “I create winter-themed work during the winter season; spring-themed work during spring,” says Deb. “I read seasonal poetry. I consider the good, bad, and ugly of the particular season. I also get outside and experience the light and smells. Caring for my garden during each seasonal change has value. My work is truer to the season when created as I experience it.”

By observing the subtle shifts in her environment, Deb creates textiles that reflect the visual splendor of each season and its underlying essence. Her work becomes a living diary, documenting the rhythms of nature and reminding viewers of the beauty found in life’s continuous cycles.

Scroll through to read our interview with Deb Herman, then head to our March 2025 exhibition, Reawakening: Craft Artists of Western North Carolina, to see her submissions.

In Today’s Q+Art Interview…

Deb Herman discusses her favorite fiber techniques, the balance between play and purpose, and the significance of her mountain surroundings.

Which three books most inspire your work? OR tell us about three of your favorite books on any subject.

Deb Herman: Cloth and Human Experience, edited by Annette B. Weiner and Jane Schneider, Smithsonian Institution Press, Washington and London; Structure of the Visual Book, Keith A. Smith; GARDENSCAPES, Lynn Geesaman.

What is your favorite creative ritual?

DH: It’s easy to get so focused on the outcome of my work that the end product can look manipulated, stiff, off-putting, and so opposite of my subject matter of nature. I’ve learned to step away from my work occasionally, unwind, loosen up, and have fun versus a prescriptive task to complete. I gather some left-over dyed, cloth remnants, and my container of odd brushes and tools and “have at it.” No perceived outcome, just play. The reality of this “play” is it has produced some of my more interesting and authentic work. The looseness of the dye strokes mimics the debris I find in the forest.

Tell us about your favorite fiber art techniques. How do you use them to convey message and meaning?

DH: I employ any and all techniques available to me to convey message and meaning. I will take an old, worn rag that’s been discarded and stitch it excessively with gold thread to honor the life of the fabric. Once I found a muddy and shredded towel that I wanted to honor. I cleaned it up a bit and then stitched pearls of varying sizes all over the towel. I like the dichotomy between rejected and honored in my work.

Much of my art has a textural quality given the weave, thickness, or fiber of the cloth, such as silk vs. cotton. I stitch the surface of my work to add texture using sewing thread, embroidery threads or even a thin cord. Sometimes I stitch gently or I can pull threads harder to create buckling on the surface. Texture adds surface interest to my work, especially when the work is well lit. Texture supports emotion, eye movement, strength, and fragility.

You’re also a book artist. How does bookmaking relate to your fiber practice? Did one practice lead to another?

DH: Fiber arts work is created with “fibrous” materials joined by interlocking single fibers of the material to create a larger whole. By definition, bookmaking and papermaking are natural fiber arts, especially as they are used to interlock paper pulp or stitch pamphlets together.

I took a comprehensive course in papermaking and one in bookmaking in graduate school and fell in love with both. Similar to my work with cloth, my handmade books and paper pulp focus on the natural environment. I make pulp from debris in my garden, what I find on the trails, and what I have in my trash cans. Equally, I deconstruct old books to expose their beautiful spine and signatures and then reconstruct them into a more structural presentation, often challenging the definition of a book.

How does your geographical location affect your work and/or success?

DH: My current geographical location in the mountains is critical to developing my work. It serves as my inspiration and motivation. I have easy access to the mountains and unlimited hiking trails.

Artists in the community are welcoming and supportive. I’ve been welcomed into the art community shortly after moving into our home. I was invited to join a book club, join an art group, and apply for membership in juried exhibitions. In time, I became a juried member of the Southern Highlands Craft Guild and member of Local Cloth located in the River Arts District. Asheville’s River Arts District is a large community of artists’ studios, galleries, classrooms and restaurants. I have exhibited works in Asheville, Black Mountain, and Weaverville venues.

Tell us about your studio. Where is it located, and what does it look like? Is there anything special about your studio that visitors should know?

DH: My home and studio are located in Weaverville, just north of Asheville. My studio is above the garage with an exterior entrance, which I like. The studio was included when the house was built, so I was able to include a large sink, refrigerator for my dyes, bathroom, and storage space. I have windows on all four sides with a vaulted ceiling. It’s all white and bright. I take pride in its organization – most everything has a place and is labeled.

What makes Western North Carolina unique? Why is it a special place for artists to live?

DH: The natural beauty of the surrounding area is stunning. The year-round weather is perfect as it offers equal seasons. We love the town's vibe and feel it offers something for everyone regardless of age.

The Asheville art scene is vibrant and offers artists of all kinds a place to create. Opportunities to create your own art, teach art classes, take lessons and enjoy a large community of artists of all ages are tremendous.

Why should people visit Western North Carolina? Why should they come to your studio?

DH: Fall, of course, is prime tourist season due to the stunning fall colors, but every season here is pretty special.

It’s always exciting to visit an artist’s working studio and important to see new works in progress. I personally appreciate when visitors walk away with an understanding of the time, effort, process, and cost of executing art.

Deb Herman: Website | Instagram

This interview has been edited for length and clarity. All photos published with permission of Deb Herman; featured photo: Bob Ware