Alex Friedman
Pandemic Passage, 2020
Wool, Hand-dyed wool, silk, polyesters [60 in x 40 in]
Pandemic Passage captures the feelings I experienced during the early days of the pandemic. The void, the dichotomies, the passage of time and space, the hope for the future dimmed. As I worked on it, it became a very hopeful piece.
Barbara Shapiro
Welcome Pineapple 235, 2022
Dyed cane from Royalwood, waxed linen [16.5 in x 15 in x 15 in]
Japanese flower knot technique was used for utilitarian bags and coal scuttles. Exotic pineapples, both real and house decor, were a traditional sign of welcome to visitors. Mine mimics nature in plaited cane and welcomes guests to my new studio. 236 individual hexagonal plaited flower knots make up the form.
Deborah Corsini
A Cloth and a Shroud, 2021
Cotton, cotton bandanas, silk, viscose, carbon paper [69 in. x 49 in.]
This ceremonial cloth has a dual purpose. It is meant to be worn both as a celebratory cloak as we emerge from sheltering into socialization and gatherings. And in the end its intention is a shroud, covering my body in a last textile ritual before cremation.
Dong Kyu Kim
Consuming Memories #14, 2021
the artist's worn face mask, paper receipts, thread [37 in x 37 in]
"Consuming Memories #14" is a mixed-media collage of the artist's previously worn face mask from the pandemic and paper receipts. The pieces are sewn together by hand with criss-cross stitches using various colors of thread.
Emily Dvorin
Life Is Complicated, 2020
Rusted chicken wire, shoelaces, zippers, cording, fabric, cable, cable ties [24 in. x 22 in x 18 in]
Through basketry, I create “transordinary vessels”, illustrating the concept that even unexpected objects can become works of art. With a visual language, I tell a story by sculpting, weaving, sewing, assembling and coiling. This work references my everyday reaction to the Corona virus over the last couple of years.
George-Ann Bowers
Fandango, 2022
Cotton, wool, rayon, silk yarns, sewing thread, wool fabric [33 in. x 35 in. x 3 in.]
My inspiration comes from nature."Fandango" is the latest in a series of works inspired by lichens, from which I draw and weave shapes of fanciful party frocks, and add embroidered embellishments suggesting the lichen's fruiting bodies. Wall-mounted (not wearable), the dresses are stuffed and manipulated to add dimension.
Gwen Samuels
Threads of Time, 2022
Photography printed on transparency, hand-stitched to wire [36 in x 26 in]
This wearable garment reminded me of a coat I had in college.
Holly Brackmann
Teaching and Travel Detritus, 2019
Slide sheets, coins, tickets, slides, thread, felt [44.5 in x 28.5 in]
Disparate items have been stitched together to emphasize the passage of career, time and aging. Repurposed objects include art historical slides from teaching, coins that could not be exchanged from travel, ticket stubs from world adventures.
Holly Wong
Psyche 16, 2022
Collaged paintings, drawings and fabric on 24x24 panel [24 in. x 24 in.]
I created this series of painting/fabric assemblages in celebration of Psyche, the Greek Goddess of the soul. Using layers of patterning as well as fabric I sewed with irridescent thread, the intent was to reflect the discovery of joyful moments in my life, amid the strain of the everyday.
Jane Ingram Allen
Living Quilt for Santa Rosa, 2018-Present
handmade paper, seeds, dye, soil, branches [(3 pieces) 11, (1 piece)16 (3)17, (1) 20]
"This work was created as a response to the devastating Santa Rosa wildfires of 2017 to bring new life to the area after the fires. The installation changes over time to become a living blooming wildflower bed, and the paper quilt and branches biodegrade into mulch to nourish the earth. "
Joy Stocksdale
Solid Squares & Frames IV, 2022
silk and acrylic mountings [23 in x 20 in x 2 in]
Geometric designs are sources of inspiration. I make small sketch notes. The challenge is turning sketches into designs that work in the format of a wall piece. Another challenge is finding a process that allows direct notation of design. I developed polychromatic screen printing which combines both painting and printing.
Julia Feldman
44.6 degrees Fahrenheit (7 degrees Celsius), 2021
Repurposed wool, linen, silk, ribbon, cotton & silk floss [15 in x 7 in x 7 in]
Redlining resulted in densely packed urban neighborhoods for Black residents, while White residents tend to live in more spacious neighborhoods. Urban areas also have fewer green areas and more man-made materials that absorb heat. Surface air temp have been measured up to 44.6F/7C higher than nearby suburbia with people of higher socioeconomic status.
Kevin Tracy
Rag and Bone, 2021
Umbrellas, moving blankets, synthetic polymer paint, zip ties. [72 in x 72 in]
Rag and Bone is fraught with implications of a global pandemic in textile waste.The meticulous ripping and tearing process exposes “the meat,” a toxic blend of recycled chemical and natural fibers.Their life cycle is a momentary blip in a circular economy that is dependent on invisible labor.
Kristina Nobleman
Shibori, 2022
Monotype with etching ink on kozo paper [36 in x 36 in]
Before printing, I manipulate paper with traditionally textile-based techniques: stitch, shibori tying and pleating to create textured, layered imagery that blurs the line between textile and paper. These techniques emphasize the sculptural materiality of the fiber/paper/ink combination, highlighting the beauty of the translucent Japanese papers I work with.
Leslee Fiorella
No. 3, 2022
6/1 Tow Linen [9 in x 12 in]
No. 3 is the exploration of minimal line drawings working in perspective. This work is a pivot from the traditional weave structures which inherently and continually repeat across the width of the warp from selvedge to selvedge. Instead, I am choosing to minimize and shift repetition into another direction.
Linda Gass
Some day there may be no more snow: California snowpack 1960 - 2019, 2019
Cotton & rayon thread, fabric stiffener, magnets [56 in x 90 in. x 1.25 in.]
This data visualization artwork shows the average annual snow water equivalent for California 1960-2019. The delicate thread-lace columns are shaped like the snow coring tubes used to take measurements. They show the the downward trend caused by warmer winters as well as highlighting the variations between flood and drought.
Mary-Ellen Latino
Petrified Log, var 1, 2022
silk, cotton, photo, ink, foil, thread [32 in. x 27 in.]
"Have you experienced trees transformed to stone bursting with incredible color and glimmer? At the Petrified Forest I was in awe of nature’s magic spanning 200 million years. “The tree is more than first a seed, then a stem, then a living trunk, and then dead timber”. Antoine de-Saint-Exupery"
Michele Kelly
Poof Bloom, 2021
Chicken wire, linen and cotton thread [6 in x 6 in x 6.5 in]
Poof Bloom uses sewing to create a fabric from thread remnants and traditional lace techniques with new stitches to create diaphanous areas, attached to a chicken wire structure. It can be placed in a multitude of ways , each offering another distinctive image to explore.
Ruth Tabancay
Adapting to New Substrates 3.0, 2022
Plastic bags, face masks, bubble wrap, other plastics [26 in x 33 in x 3 in]
What if organisms evolved to digest the plastic waste accumulating on the planet? I’ve embroidered various single use plastics with stitches that resemble bacteria, fungi, and larvae.
Sue Bradford
Interwoven, 2019
Stitch, thread, vintage woven tape and spool [4.5 in x 2.5 in. variable]
A feminine cloth is soft in weight, strong in weave, gathers, stretches, carries memories, is worn through in places and darned in others. It softens with use. “Interwoven” is a woven tape, a material of “women’s work”, stitched with full-body portraits of women creating a visual cloth of feminine lineage.
Tracy Flanagan
Lifelines, 2022
Fabric and thread wrapped wood and stone [42 in x 16 in]
Botanical printed cloth and ripped white sheets used to wrap parallel family and medical lifelines, connected by a complex sinewy web
Youngmin Lee
Hope, 2022
Cotton muslin and cotton thread [118 in x 42 in]
In 2020, I was busy making face masks, and started to make jogakbo using the leftover. This ignited my very organic creative process. I enjoyed the rhythm of stitching and left the result beyond my control. I appreciate meditative acts that creates an unexpected and spontaneous result.
Yudith Segev
Three Magical Trees, 2021
Digital media printed on canvas [24 in x 36 in x 2 in]
In my art I like to explore new techniques, and to mix them in with old ones.
Zona Sage
Manual Labor, 2022
Found sweater, knitting, roving, yarns, threads [24 in x 18 in. ]
I found this sweater along the railroad tracks, paint splattered, discolored and badly deteriorated. Day workers congregate near there and I imagine this sweater came from one of them. In cleaning and repairing the sweater, I wanted to honor the labor of its former owner with my own.