In the project "Crossing" I explored my relationship to consumer culture, history, faith and natural cycles.Textiles, natural materials and old, even ancient techniques engaged in a synergy with my painting. Crossing was the name of my MFA thesis exhibition (From Maryland Institute College of Art, aka MICA) and the video below was my thesis statement.
Please note that there are several sub-pages related to this project in the portfolio tab.
Please note that there are several sub-pages related to this project in the portfolio tab.
While exploring my relationship to consumer culture, history, faith and natural cycles, natural dying has been an important catalyst. Textiles, natural materials and old, even ancient techniques have engaged in a synergy with my painting.
Transformation-September 4-October 31 2021
The weaving that was created on the warp-weighted loom in my thesis exhibition is in the group show "Transformation" at the Montepelier Arts Center in Laurel, MD S
The weaving that was created on the warp-weighted loom in my thesis exhibition is in the group show "Transformation" at the Montepelier Arts Center in Laurel, MD S
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MICA Thesis Exhibition Summer 2021
Modules
I had the idea to make small weavings with the intent of putting them together in various ways. While I wanted each weaving to be a little work in its own right, the idea was always to put them together into something larger, which is why I decided to call them modules.
The modules became my color composition lab. I was surprised-and delighted-at how the colors I had made through processing fiber with natural dye and reclaiming waste textiles interacted with each other. The module morph video was my first iteration of combining the modules into a larger whole. From the start, I had wanted to make “connections” between modules in both the digital and physical realm. When transitioning from one cord or yarn to the next, after anchoring the end into the weaving so it won’t unravel, I leave a length of cord or yarn free-I call them “tails.” These tails give me installation options-they can be suspended, connected to each other, objects can be attached to them.
The making of modules is ongoing, and I have barely begun to explore the possible interactions and connections and greater wholes they can enable!
I had the idea to make small weavings with the intent of putting them together in various ways. While I wanted each weaving to be a little work in its own right, the idea was always to put them together into something larger, which is why I decided to call them modules.
The modules became my color composition lab. I was surprised-and delighted-at how the colors I had made through processing fiber with natural dye and reclaiming waste textiles interacted with each other. The module morph video was my first iteration of combining the modules into a larger whole. From the start, I had wanted to make “connections” between modules in both the digital and physical realm. When transitioning from one cord or yarn to the next, after anchoring the end into the weaving so it won’t unravel, I leave a length of cord or yarn free-I call them “tails.” These tails give me installation options-they can be suspended, connected to each other, objects can be attached to them.
The making of modules is ongoing, and I have barely begun to explore the possible interactions and connections and greater wholes they can enable!
Above, video Woven Color Progression. As I dye fabric, the colors available for me to weave change. I noticed an interesting morphing of color from one weaving module to the next, and made this video to give you a sense of that progression. I use natural dyes and mostly reclaimed textiles. There are also wool rovings that I dyed and then spun by hand on a drop spindle in some of the weavings. The sound is recordings from my home and neighborhood repeated and layered over each other.
Bed Curtain, 2019, Oil on repurposed textiles, Approx. 77" x 24"
Clothesline, Installation view, MICA 2019 .
Below, Palette, Installation view, MICA 2019
This was on the wall perpendicular to "Clothesline" installation above. Much of the material visible in this installation has now been further processed by spinning and/or weaving.
I am fascinated by cycles. This collar with pin taken out became part of the "column" exhibited at MICA, see photo to the right.
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After this exhibition came down, the upper portion of this work was pinned together and worn for a graduation party (as in photo at left,) continuing the cycling/recyclimg.
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Rusty stuff in vinegar/water solution, to use as a modifier in dying fabric
Bricolage; I took two turtlenecks, both with frayed collars. cuffs and holes. I made a pattern based on a top I liked, then spliced the good parts together to make a "new" shirt!
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Goldenrod-this went into the dye pot for natural fabric dying hours after it was picked.
Painting as documentation; you can see some of the fabric from the shirt at left in this painting.
I tried to document all the garments I owned by painting a 3" square for each. I took old bed sheets I had initially saved for use as rags, and cut them into sections large enough for 70 squares on each "sheet." I impregnated the fabric with rabbit skin glue, borrowing the old masters technique that was used before modern latex primers to protect linen/canvass from oil paint.
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Because of the holes, this scarf had reached the end of it's first life; I cut it in strips, twisted the strips and fed them through the sewing machine on a zig-zag stitch to make cord. (See below, photo of making cord.)
Making cord out of scraps of fabric, using the sewing machine (see painting left.)
Here is a primitive pin loom I made, at the very beginning of weaving a scarf. The red "yarn" was made from a t-shirt, the red and black cord from the old scarf, I have a photo of me cutting cutting it into strips to make the cord above in this gallery.
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