Light and Material: Weaving and the Work of Nel Oudemans
For centuries, weaving has been more than just a craft—it is a way of storytelling, of preserving memory, and of connecting communities. In Light and Material: Weaving and the Work of Nel Oudemans, NBCCD alumna and author Danielle Hogan weaves together the story of Oudemans’ impact on the textile arts in New Brunswick, alongside a broader history of weaving’s role in the province’s cultural identity. Through in-depth research and personal reflection, the book uncovers the profound influence of one woman’s devotion to the craft and how it continues to inspire generations of artists.
Danielle Hogan, photo by Kelly Baker.
A Legacy Interwoven with Community
The idea for the book took root when Hogan was introduced to author and arts columnist Nancy Bauer at an exhibition at Fredericton’s Gallery 78. “Nancy was a neighbour and close friend of the Oudemans and she knew that Nel’s husband Jack was looking to have a book published that celebrates the legacy of Nel’s weaving.” Having recently completed a doctorate focused on the devaluation of art—especially those created by women, BIPOC, and 2SLGBTQIA+ communities—Hogan was drawn to Nel Oudemans’ story. A renowned weaver, Oudemans had a profound impact on New Brunswick’s artistic landscape. Encouraged by Jack Oudemans, the author embarked on a journey to document her life and work.
“Nel Oudemans’ biography is the warp between which additional threads of New Brunswick’s weaving history are passed,” Hogan explains.
While Light and Material explores Nel Oudemans’ impact and the history of weaving in New Brunswick, Hogan acknowledges that Wabanaki weaving traditions predate colonial industry and remain central to the region’s cultural identity. Though the book does not delve into this history, it begins with a territorial acknowledgment and recognizes the contributions of contemporary Wabanaki artists. Hogan also expresses hope that future works will explore the artistry of Mi’kmaq weaver Peter J. Clair and others, ensuring their legacies are celebrated. By situating Oudemans’ work within the province’s broader weaving traditions, Light and Material highlights the evolving nature of the craft while honouring its deep and diverse roots.
Textiles as Cultural Identity
Weaving, as explored in Light and Material, has long been central to New Brunswick’s cultural fabric. “Many people may be surprised to learn that in the mid-1800s, there were only two cotton mills in Canada when Joseph Kingston built a steam-powered mill in Geary, New Brunswick,” Hogan notes. The province’s textile industry expanded with the establishment of mills in Saint John and Marysville, eventually transforming into a thriving hub of weaving and craft.
One of the most fascinating figures in this history is Helen Mowat, a pioneering artist and businesswoman who founded Charlotte County Cottage Craft Limited in 1915. “She played a pivotal role in the economic development of New Brunswick,” says Hogan. “During WWII, she even pivoted her business model so that local weavers could produce woolen twill fabric for Canadian military uniforms.”
Snowballs and Pine Trees, by Nel Oudemans, 1987.
Nel Oudemans: A Weaver of Influence
Beyond the industry, Oudemans’ contribution to the textile arts in New Brunswick was deeply personal. As a weaving instructor at the New Brunswick College of Craft and Design (NBCCD) in the 1940s she nurtured a new generation of textile artists, reigniting a passion for the craft within the community.
“Nel had an incredible ability to ignite inspiration in others,” says Danielle. “Traveling across the province after WWII, she dedicated herself to reskilling communities and ensuring that weaving remained a dynamic and evolving art form. Her influence extended far beyond the classroom, shaping the creative journeys of countless artists. Those close to her—including Nancy Bauer, Jessie Davies, Vita Plume, and Jon Thompson—have shared their heartfelt remembrances in this book, offering personal insights into the profound impact she had on their artistic lives.”
Among those touched by Oudemans’ mentorship is textile artist Liz Pead, a 1995 NBCCD graduate, whose recent work GETTING SCRAPPY—an installation of upcycled textiles—was just announced for Holt Renfrew’s ON 3 space in Toronto. “The reach of NBCCD’s Textile Design instructors, including Oudemans’, is vast,” Hogan explains. “Their influence is woven into the careers of countless artists who continue to push the boundaries of textile art.”
Nel Oudemans, 1995.
The Symbolism of Weaving: More Than Just Thread
For Danielle, weaving is more than a technique—it is a metaphor for community, resilience, and interconnectedness. The book explores not only the tangible aspects of the craft but also its symbolic dimensions. Quoting artist Ann Hamilton, Hogan reflects:
“A project is made as much from conversation as it is from materials, from space, and from time, and it contains the energy and many influences of these exchanges.”
This philosophy is evident in Oudemans’ work, which transcends fabric to represent the relationships, experiences, and histories interwoven within each piece.
A Textile Renaissance: Inspiring Future Generations
Oudemans’ legacy is a reminder of the power of craft to shape culture, preserve tradition, and inspire change. Hogan hopes that Light and Material will not only honour Oudemans’ contributions but also encourage new artists to embrace textiles as a meaningful and impactful medium.
To aspiring textile artists, the advice is simple: Ask questions. Collaborate. Respect the craft. “No matter how much you think you know, there is always more to learn,”Hogan emphasizes. “The ‘lone genius’ is a colonial myth—real artistry happens in community, through shared knowledge and mutual inspiration.”
From its humble beginnings in 1938, NBCCD continues to foster a deep appreciation for craft and design, and Oudemans’ influence remains woven into its very foundation. The college stands as a testament to the power of artistic mentorship, shaping generations of creatives who, like Oudemans, will continue to thread the past into the future.
Get Your Own Copy of Light and Material
Danielle Hogan’s Light and Material: Weaving and the Work of Nel Oudemans is available for purchase at Indigo, Barnes & Noble, Amazon. To learn more about the book, visit Danielle’s website.
