From intimate woven inlays to larger narratives spun from memory and emotion, the work of Toronto-based artist Elycia SFA occupies a space where craft and storytelling intertwine. Grounded in personal history and built through meticulous material processes, Elycia’s practice draws on the visual language of weaving to preserve and reimagine fragments of daily life. In this interview, Elycia speaks about the emotional resonance of textile work, the balance between ambiguity and meaning, and the importance of sustainability—creative, personal, and professional.

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How do you reignite creativity during those inevitable periods of self-doubt or stagnation? 

There are definitely periods of time where I experience creative block or stagnation within my practice. When this happens, I try not to put pressure on myself to make work just for the sake of it, but instead pivot to other creative pursuits, or “fun projects” and wait for inspiration to strike. In general, I am always working on something. I find the momentum of making to be important for the flow of my practice. Balancing a studio practice while also working can be stressful and precarious at times, but I feel so grateful for my studio. I will never take it for granted that I have a designated space to freely be creative.

How important is it for viewers to understand the intended message of your work? Does ambiguity add value, or do you seek clarity in your expression?

There is an interesting pattern I have noticed over the years through exhibiting my work in various settings, ranging from public art fairs, galleries, and spaces in between. The subject matter and narratives explored in my work are not explicitly shared, but the ambiguity of the image often allows folks to see themselves in the work. I’ve had many meaningful conversations with complete strangers who have been passing by and stopped to tell me what the work reminded them of or how it made them feel. The power of nostalgia is strong, and I always value these interactions and moments of connectedness.
 

Can you take us through the evolution of an artwork, from that first spark of inspiration to the finished piece? 

I almost exclusively work from existing references, whether it is photos I've taken myself, others have sent me, or physical objects that I am recreating in thread. So the process begins with the reference photo/object, and from there I create a simplified version of the image in photoshop to be used as a weaving template. This process involves paring down the colour palette, and just generally making it more “weavable”. While I am able to capture a lot of detail with the woven-inlay technique, there are still some technical limitations or visual effects that don’t translate as well into woven cloth. Once the weaving template is ready, I set up the loom and start with the inlay process. To briefly explain weaving for those who are unfamiliar, the threads that are physically on the loom are called the warp, and the threads that are woven back and forth for each row are called the weft. It is the interlocking of the warp and weft threads that create the woven structure. Then, for the woven inlay, within each row, there are various supplementary threads that are strategically placed and sandwiched in between the weft to create areas of colour within the cloth. After the body of the cloth is created, I will embroider it while it’s still on the loom to bring out certain details within the image.

Do you feel a personal connection to your subject matter is essential? How has this connection shaped your work? 

I mainly work with themes around personal narrative, so feeling personally connected to the work is critical. I find myself to be the most articulate through this visual language as opposed to writing or speaking. While it can be quite vulnerable and intimate to work within these concepts and ideas, I find it to be equally cathartic to center my weaving around these personal themes.

Do academic institutions still play a vital role in shaping artists today, or has self-taught creativity disrupted this tradition? 

It’s an interesting time to be thinking about the role of academic institutions within the context of art/craft/design. Here in Toronto, where I live and work, there is currently a major disruption within institutional craft education where the programs are being restructured and suspended, which is creating a very precarious situation for students and faculty. As someone who was educated within an academic institution, I can certainly still see and advocate for its value. On the other hand, I feel that there is a rising criticism of institutional gatekeeping, and a dismantling of the hierarchy which puts artists who have been taught within an institution above folks who are self taught or have developed their practice through generational learning/community. Or at least that is the way I see it. I am all for sharing resources and disrupting the institutional defaults.

What are your long-term aspirations as an artist, both personally and professionally?

Perhaps this is too literal or straightforward, but I really do hope that I can continue to do what I’m doing long term. Since 2015 when I graduated from OCADU, where I studied Textiles, I have worked part time and had my studio practice part time. Making art has always been a critical pillar in my life, and I hope I can keep making and sharing work for as long as it stays sustainable and fulfilling for me. 

Are there any upcoming projects or dreams that you’re particularly excited about?

Since January of this year, I have been weaving a deck of cards. When I first started the project, I wasn’t sure how many I would end up making, and I felt very daunted by the idea of weaving 52 pieces. At the moment, I have fully completed the diamonds and hearts, and am about halfway through the spades. Throughout the project, I have been sharing updates online, and the overall reaction and support have been so positive and encouraging! I don’t usually sell much work online. With past experience, my work generally sells better in person. However, with the playing card series, I have sent cards across Canada, the US, and even to France. I am very much looking forward to finishing the deck in the coming months, and whatever comes next!

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At once methodical and deeply instinctual, Elycia SFA’s approach to making is rooted in patience, reflection, and a refusal to compromise clarity for conformity. Whether translating photographs into cloth or threading memory through fibre, the work becomes a vessel for emotional connection. As Elycia continues developing new bodies of work—most recently a full woven deck of playing cards—the practice remains grounded in both discipline and joy, inviting viewers to slow down and meet the work at eye level, thread by thread.