Carol Eckert – Symbols and stories

<i>Carol Eckert</i> – Symbols and stories

Born in Chapel Hill, North Caroline, artist Carol Eckert creates enchanting fiber sculptures that combine animal symbolism and mythology with a self originated technique involving coiling and wire. Despite Carol’s interest in textiles as a child she studied painting at Arizona State University and only began to work with fiber again after teaching art classes in a community arts center. Here she takes us  on a journey into the creation of her work.

Time of the Ten Suns (master)

Myths and legends

From the story of Adam and Eve to the tale of Rappaccini’s Daughter, humankind’s complex relationship with the natural world has been recorded in myths and legends, many warning of the dangers lurking beneath nature’s beauty. The coiled fiber process I use to create my pieces is as old as the stories they tell. Coiling is an ancient technique, intertwined with humans’ enduring connection to nature — its earliest known use was the construction of vessels from gathered plant materials.

Each piece begins with symbols and stories — creation stories, legends of great floods, tales of journeys and quests, parables of good and evil. Mythology and art have been interwoven for as long as there have been humans on earth, and my work often explores this connection through animal symbolism.

Birds and predators figure prominently in my work. Birds have been a source of mystery to humans for centuries. Complex symbols that often mirror our own beliefs, they continue to be seen as augurs – a bird in the house brings bad luck, a stork is a sign of good fortune, the albatross is an omen of bad weather. Wolves have loomed large in my imagination since I was a small girl, haunted by the tale of Peter and the Wolf. They appear regularly in my pieces, drawn from sources as diverse as the environmental writings of Barry Lopez and Teutonic legends predicting the end of the world.

And a Wolf Shall Devour the Sun, 46cm x163cm x8cm

Stitch by stitch

I draw each piece and choose thread colors before I begin construction. Then I work directly from the drawing, which includes color numbers for reference. Occasionally I make small changes as the piece progresses but the finished piece is usually very similar to the drawing. Currently, I’m working on a piece which uses the traditional textile form of a palampore to explore issues of extinction.

Palampore for a New Century: Drawing
Palampore for a New Century: Drawing

My pieces are often complex, but the technique is simple, requiring only a threaded needle. I work with various gauges of coated wire and with cotton and linen threads. The forms are built up slowly, stitch by stitch and row by row. The process is coiling, a basketry technique so ancient that no one is exactly certain when it first began. Though it is traditionally used to make vessels, I construct a myriad of coiled forms, including staffs, shrines, wall pieces and books.

Staff of Artemis, 203cm x 60cm x 5cm
Kingdom of the Birds, 43cm x 56cm x 20cm
According to the Eddas, 66cm x 71cm

The first pieces I ever made were vessels – small containers with gatherings of birds attached to the lids. Over time, the imagery became more complex and the containers grew to include drawers, arches and secret compartments. In recent years, my work has become less three-dimensional and is now focused on book forms and wall pieces.

The Fifth Day, 74cm x 153cm, & detail

Painting and drawing

I arrived at basketry by a circuitous route. Beginning in childhood, I experimented with many textile processes – embroidery, quilting, sewing, resist dying, knotting. My university training was in painting and drawing, but I found myself gradually drawn back to fiber techniques after receiving my degree. Since I wasn’t formally trained in textiles, my influences tend to come from other areas and the names of the artists I’m most inspired by have been lost to history. Works that I admire include Japanese screens, traditional Jewish papercuts, and Medieval bestiaries.

Litany of the Birds, 30cm x 125cm x 5cm, & detail
Oracle of the Animals, 206cm x 135cm x 10cm

My approach is to concentrate on the work and spend as many hours in the studio each day as I possibly can. I begin early in the morning and often become so involved that I forget to take breaks. My studio is not large, but it is filled with things I treasure – bookcases stuffed with art history, poetry, and mythology books (including a collection of antique [easyazon_link asin=”0140446494″ locale=”UK” new_window=”default” nofollow=”default” tag=”wwwtextileart-21″ add_to_cart=”default” cloaking=”default” localization=”default” popups=”default”]Aesop’s Fables[/easyazon_link]); a shelf of family photos; terrariums of all sizes; and odd little collections: tape measures and rulers, lead animals, Empire State Buildings.

Upcoming exhibitions

This fall my work is included in exhibitions at Fort Wayne Museum of Art, Indiana; Museum of Arts and Design, NYC; Fuller Craft Museum, Brockton, Massachusetts; Racine Art Museum, Wisconsin; and Mobilia Gallery, Cambridge, Massachusetts.

My next workshop will be in the U.S. at the National Basketry Organization conference in St Paul, Minnesota, July 2015.

For more information please visit and her basketry blog

If you’ve enjoyed this interview with Carol please let us know by leaving a comment below

Saturday 13th, July 2024 / 13:07

About the author

Joseph Pitcher is the son of textile artist Sue Stone. He is an actor and voice-over artist and has worked at the RSC, the National Theatre, West End theatres and several other leading regional venues across the UK. Find Joe on Google

View all articles by Joe Pitcher



Share in the creative secrets of the world's most celebrated embroidery artists.

And discover how to create breathtaking art with textiles and stitch.

All Inspiration. No Spam.

Thank you for subscribing to our newsletter

3 comments on “Carol Eckert – Symbols and stories”

  1. Rachel Biel says:

    Oh! Absolutely phenomenal! I love the dimensional aspect of it and being able to look through the pieces. I have an old art deco piece on my wall that is made of cut brass, birds with long beaks and legs that are made of twisted wires, very similar in concept. They cast such interesting shadows on the wall…

    I’m a new fan!

  2. Carol Eckert creates the most amazing, imaginative works of art. Her vision and attention to the most minute details are commended. I have followed her work for years and always get lost in their sheer beauty. I had the pleasure of taking a class from her over 20 years ago and admire her work more each time I see it. She is the ultimate coiler!

  3. Kristin Freeman says:

    My first ever awareness of Carol Eckert , artist. I am a fan, for sure.

Leave a Reply

Your email address will not be published. Required fields are marked *

Hello and welcome to is a place for textile artists and art enthusiasts to be inspired, learn from the best, promote their work and communicate with like-minded creatives.



Share in the creative secrets of the world's most celebrated embroidery artists.

And discover how to create breathtaking art with textiles and stitch.

All Inspiration. No Spam.

Thank you for subscribing to our newsletter

What the artists say

" is an invaluable resource. I am constantly sending students there and sharing it with other practitioners".

Nigel Cheney
Lecturer in Embroidered Textiles at NCAD

"The beauty of is that whenever you visit you'll discover something that you didn't already know".

Rachel Parker
Textile Study Group Graduate of the year 2012

" gives contemporary textile practice a voice; leading artists, useful guides and a forum for textiles".

Cas Holmes
Textile Artist and teacher

"This website is exactly what we need in the textiles world. A fantastic inspirational resource".

Carol Naylor
Textile and Embroidery Artist

  Get updates from via RSS or Email


Most Viewed