Merill Comeau

, 2024

materials: repurposed textiles, paint, stencil ink, threads. methods: composting, stenciling, hand and machine stitching 88hx78w

Acadie 4 gives visual voice to my ancestral Acadian roots and colonial history. The Acadian colony in Nova Scotia provided a possible democratic model for European settlers co-existing with aboriginal peoples peacefully and in mutually beneficial collaboration and co-habitation. After over 100 years as an independent settlement, Acadians declared themselves neutral in the French-English war over ‘ownership’ of Canada. They refused to bear arms for or against both European countries and refused to bear arms against aboriginal peoples. They were subjected to mass genocide and banishment by English authorities. The Acadian diaspora is evidenced in French speaking towns in Maine and the Cajuns of Louisiana. Eventually some settlers were allowed to return to Nova Scotia with the agreement they did not return to their homes; these descendants can be found in small towns of Nova Scotia. Comeauville is where my relatives re-settled.

Merill Comeau

Woman Interrupted: Legacies of the Silk Road, 2023

gifted unfinished crewel embroidery tablecloth, contemporary embroidery, stenciled historic crewel patterns 70h x 48w

Acquired anonymously, this linen tablecloth of crewel embroidery outlines sported only a small section of completed work. Finding the evidence of begun and interrupted decorative effort, I decided to ‘complete’ the project by embroidering large colorful stitches to outline and the incomplete elements. An inherited piece of crewel embroidery I have hanging in my dining room provided inspiration for the beige stenciled abstractions of pomegranates and traditional crewel motifs that fill the voids. This piece contains connections to women known/unknown and history/modernity.

Merill Comeau

Fond Memories of Good Company, 2023

repurposed domestic textiles, thread, ink 102h x 78w

Snippets of textiles saved from my dining room and kitchen evidence an active life of cooking and eating with others. My kitchen implements and tableware are rendered in embroidered outlines and surrounded by thread tick marks calling attention to the frequency of their use and memories of past shared meals. Large stenciled patterns inspired by handed-down china reference the traditionally female art of china painting — an accepted female employable skill during a historical period of limited for women's enfranchisement.

Merill Comeau

Women’s Work Is Never Done, 2019

painted vintage linens and deconstructed clothing, hand stitching of various methods of manipulating fabric historically used in clothing construction 16' x 14'

In my practice, I deconstruct and reconstruct clothing undoing another woman’s work and think about socioeconomics of maker/wearer and textile industry. In this installation, I used black painted fabric as I taught myself methods of fabric manipulation employed in garment construction to pay homage to the skills and craft of dressmakers. It is challenged learning, evidenced by my clumsy products, and labeled with tongue in cheek puns referring to the method and my emotions such as ‘I’m ruffled” for ruffles and “I’m boxed in” for a boxed pleat

Merill Comeau

Red, White, and Blue, 2019

Rust dyed vintage linens, hand painted and block printed recycled fabric, composted toile, deconstructed clothing, hand stitched and embroidered. 106"w x 92"h

Merill Comeau

Family of Origin, 2017

composted toile, dyed and painted fabrics, deconstructed clothing, shirts of artist's deceased mother, various embellishments, hand stitching 77”h x 93”w x 73”d

Merill Comeau

Detail of Foundational Garment, Straight Laced, 2017

Shirt of decease mother, paint pen, painted laces, grommets, wooden hanger, oaktag label 36"h x 28"w x 12"d

Merill Comeau

Art History 101, ongoing

Discarded university slide library, yarn, insect pins 16'w x 5'h

Merill Comeau

Black and Blue, 2017

mixed media drawing/painting, painted floor cloth, embroidered chair cover 96”h x 114”w x 52”d

Merill Comeau

Sins of the Mother Rest Heavily, 2014

composted toile, painted and printed fabrics, deconstructed clothing, machine and hand stitching 60"w x 52"h