Maria Sigma・Woven Textiles

Maria Sigma・Woven Textiles Luxury bespoke hand-woven zero waste textiles for interiors. Textile Design & Colour Consultancy. Hand-woven 'zero waste' textiles for interiors.

31/07/2026

Αντιμετωπίζοντας την υφαντική ως σύγχρονη γλώσσα

On view at the Craft Prize Exhibition in Athens.I’m honoured to be among the 15 finalists with Ever Changing — a work t...
26/06/2026

On view at the Craft Prize Exhibition in Athens.

I’m honoured to be among the 15 finalists with Ever Changing — a work that explores the shifting surface of the sea and the subtle transformations found in nature, memory and ourselves.

Handwoven using natural undyed British wool, natural undyed koukouláriko (cruelty-free) Soufli silk and natural undyed Eri Peace silk, the work is constructed through two layered warps that create depth, movement and moments of revelation. Exposed warp threads interrupt the woven surface, inviting a glimpse beneath and suggesting that what lies hidden is just as important as what is seen.

NOEMA Craft Prize Exhibition
Kapnergostasio, Athens
18–30 June

Photo by Stathis Mamalakis. Courtesy of Noema Greece.

On view at the Craft Prize Exhibition by alongside the 15 finalists.18–30 June 2026Kapnergostasio, AthensEver Changing...
19/06/2026

On view at the Craft Prize Exhibition by alongside the 15 finalists.

18–30 June 2026
Kapnergostasio, Athens

Ever Changing

This work draws from the constantly shifting surface of the sea - never fixed, always in transition. It reflects a broader condition of change found in nature and in the self: subtle, continuous, and cumulative.

Constructed using two layered warps, the textile introduces depth through structure. The warps sit one above the other and are selectively interlaced, allowing them to alternate across the surface. This creates areas of compression and openness, where the composition appears to shift between states.

Exposed warp sections interrupt the woven field, revealing glimpses of what lies beneath. These openings invite a reading beyond the surface, suggesting what is hidden, partially concealed, or not immediately accessible. The textile becomes a layered system where visibility is controlled and meaning remains in flux.

The fringe extends this condition of instability. Left free, it responds to air and movement, never settling into a fixed form. It continues the logic of the piece beyond the woven structure, reinforcing a state of constant change.

Movement is embedded within the construction rather than depicted. The work is defined by ongoing shifts—between layers, between visibility and concealment—remaining, like the sea and the self, ever changing.

New work: Ever ChangingThis work draws from the constantly shifting surface of the sea—never fixed, always in transition...
14/04/2026

New work: Ever Changing

This work draws from the constantly shifting surface of the sea—never fixed, always in transition. It reflects a broader condition of change found in nature and in the self: subtle, continuous, and cumulative.

Constructed using two layered warps, the textile introduces depth through structure. The warps sit one above the other and are interlaced selectively, allowing them to alternate across the surface. This creates areas of compression and openness, where the composition appears to shift between states.

Exposed warp sections interrupt the woven field, revealing glimpses of what lies beneath. These openings invite a reading beyond the surface, suggesting what is hidden, partially concealed, or not immediately accessible. The textile becomes a layered system where visibility is controlled and meaning remains in flux.

The fringe extends this condition of instability. Left free, it responds to air and movement, never settling into a fixed form. It continues the logic of the piece beyond the woven structure, reinforcing a state of constant change.

Movement is embedded within the construction rather than depicted. The work is defined by ongoing shifts—between layers, between visibility and concealment—remaining, like the sea and the self, ever changing.

Being between London and Greece for about a year now —initially to teach at the new weaving schools, but also because I ...
24/03/2026

Being between London and Greece for about a year now —initially to teach at the new weaving schools, but also because I felt a real momentum building around weaving here.

Over the past year, I’ve travelled across Greece teaching and meeting fellow weavers, and realised the community is much larger than I had imagined.

At the same time, opening a second studio in Athens and navigating the Greek system - taxes, laws, bureaucracy - made me understand how difficult it is to sustain a craft practice here. There are so many obstacles.

Most importantly, there is no clear professional framework for weavers — it’s as if the profession doesn’t formally exist. There is also no clear distinction between handweaving as a craft and manufacturing.

All of this led us to create a new weaving collective bringing together professional weavers, weaving teachers, and recent graduates from accross Greece.

We’re at the very beginning, but we’re thinking big.

If you’re a weaver based in Greece and want to learn more, DM your name and email — we’ll be in touch soon.
——
Βρίσκομαι μεταξύ Λονδίνου και Ελλάδας εδώ και περίπου έναν χρόνο — αρχικά για να διδάξω στις νέες σχολές υφαντικής, αλλά και γιατί ένιωσα ότι υπάρχει μια πραγματική δυναμική γύρω από την υφαντική.

Τον τελευταίο χρόνο ταξίδεψα σε πολλά μέρη της Ελλάδας, διδάσκοντας και γνωρίζοντας άλλες υφάντριες / άλλους υφαντές, και συνειδητοποίησα ότι η κοινότητα είναι πολύ μεγαλύτερη απ’ όσο φανταζόμουν.

Ταυτόχρονα, ανοίγοντας ένα δεύτερο στούντιο στην Αθήνα και προσπαθώντας να κατανοήσω το ελληνικό σύστημα — φόρους, νόμους, γραφειοκρατία — κατάλαβα πόσο δύσκολο είναι να διατηρήσει κανείς μια επαγγελματική δραστηριότητα στον χώρο της χειροτεχνίας. Υπάρχουν τόσα πολλά εμπόδια.

Το πιο σημαντικό είναι ότι δεν υπάρχει καν ένα σαφές επαγγελματικό πλαίσιο για τους υφαντές — είναι σαν το επάγγελμα να μην υφίσταται επίσημα. Επίσης, δεν υπάρχει σαφής διάκριση μεταξύ της χειροποίητης υφαντικής (craft) και της βιοτεχνικής παραγωγής.

Όλα αυτά μας οδήγησαν στη δημιουργία μιας νέας συλλογικότητας υφαντικής, που φέρνει κοντά επαγγελματίες υφαντές, δασκάλους υφαντικής και πρόσφατους αποφοίτους από όλη την Ελλάδα.

Βρισκόμαστε ακόμη στην αρχή, αλλά έχουμε μεγάλες φιλοδοξίες.

Αν είστε υφαντής /υφάντρια με έδρα την Ελλάδα και θέλετε να μάθετε περισσότερα, στείλτε μήνυμα με το όνομά σας και το email σας — θα επικοινωνήσουμε σύντομα.

Details from the longest piece I have ever made so far - four meters long. Made with two warps of natural undyed British...
06/02/2026

Details from the longest piece I have ever made so far - four meters long.

Made with two warps of natural undyed British wool, and natural Greek wool and dyed Greek cotton on the weft.

Sotiria: A Woven Song for Women Who ResistNew wall piece created for GRD Rebetiko — a special issue and exhibition by .m...
13/01/2026

Sotiria: A Woven Song for Women Who Resist

New wall piece created for GRD Rebetiko — a special issue and exhibition by .mag marking 100 years of Rebetiko, the powerful urban folk genre born from marginalized communities and often described as the “Greek blues.”
On view .athens until 23 January 2026.

This woven work begins with the melody of Ánixe, ánixe—an attempt to translate music into material form and to carry the voice of Sotiria Bellou into the language of thread. Musical sketches reduce the song to wavy lines, vertical columns, and repeated pitches. These are not illustrations of sound, but traces of how the voice moves: its rises and falls, its pauses, its insistence.

The cloth functions as a form of notation. Each shift in the drawn line becomes a material decision; each repetition in the song returns as a woven motif. The textile does not depict the music—it records it, preserving it within matter.

Texture is central to this act of recording. Ridges and compressed passages recall the grooves of a vinyl record, where sound is physically inscribed and stored. Here too, information lives in relief and resistance rather than image. The fabric becomes a silent archive—a tactile recording surface that asks for time and closeness to be read.

Inspired by Ánixe, ánixe, this piece stands as a hymn to her voice, her defiance, and her endurance. A textile that listens and remembers, holding within its structure the strength of a woman who never feared anyone.

Materials: natural undyed British wool, natural abaca, Greek cotton, and natural Eri Peace silk.

Available for purchase.
For enquiries, please contact me via DM or email.

Sotiria: A Woven Song for Women Who ResistThis woven work begins with the melody of Ánixe, ánixe —an attempt to translat...
09/01/2026

Sotiria: A Woven Song for Women Who Resist

This woven work begins with the melody of Ánixe, ánixe —an attempt to translate music into material form and to carry the voice of Sotiria Bellou into the language of thread. Μusical sketches reduce the song to wavy lines, vertical columns, and repeated pitches. These drawings are not illustrations of sound, but traces of how the voice moves: its rises and falls, its pauses, its insistence.

The woven cloth functions as a form of notation. Each variation in the drawn line produces a material decision; each repetition in the song returns as a woven motif. The textile does not depict the music—it records it, preserving it within matter.

Texture is central to this act of recording. The surface of the cloth, with its ridges and compressed passages, recalls the grooves of a vinyl record, where sound is physically inscribed and stored. Here, too, information resides in relief and resistance rather than image. The fabric becomes a silent archive: a tactile recording surface that requires time and closeness to be read, much like a needle tracing sound from vinyl.

This transcription carries not only melody, but a life marked by resistance. Sotiria Bellou refused submission from an early age, resisted domestic violence, endured imprisonment, and survived poverty and persecution during the Occupation. She took part in the Resistance, was arrested and tortured, and emerged determined never to fall silent. In the harsh, male-dominated world of rebetiko, she sang without permission—raw, uncompromising, and true. She endured censorship, political violence, and exclusion, yet remained unbent.

This woven piece, inspired by Ánixe, ánixe, stands as a hymn to her voice, her defiance, and her endurance. It is a textile that listens and remembers—holding within its structure the strength of a woman who never feared anyone.

Sotiria wall piece is part of “GRD Rebetiko”, a special issue and exhibition by .mag marking 100 years of Rebetiko, the powerful urban folk genre born from marginalized communities and often described as the “Greek blues”.

On view at .athens until 23 January 2026.
More details via the link in profile.

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