As part of the Maharam Studio series, I traveled to Paris to spend time with Sheila Hicks, the legendary sculptural textile artist whose work has long blurred the lines between art, design, and craft. Her studio, tucked away behind a leafy courtyard and framed by old stone walls, felt more like a hidden garden than a workspace—quiet, textured, and full of life.

Sheila’s early experiments with colour and form led to her celebrated collaboration with Knoll International in the 1960s. Those woven upholstery designs, bold and ahead of their time, have been brought back into production many times over the years. They still feel fresh—proof of just how far ahead she was thinking.

Spending a couple of days there, watching Sheila work, listening, and occasionally pausing to talk it became clear to e that her process is as intuitive as it is rigorous, each movement informed by decades of experience but still guided by a kind of curiosity. It’s clear that, for her, weaving is more than a medium—it’s a language.

We also spoke fondly of talk about South America, a place we both have a deep connection to. Those exchanges, much like her work, wove together ideas and emotions in ways that have stayed with me long after I left.

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