Roya Amigh
Listen to the distant voice, 2021
Paper, thread, lace, and pieces of cloth and mirror [60 x 49 x 15 inches]
Listen to the distant voice reflects women’s role and voices in the movements and marches happening in the past few years of my life, including the Green Movement in Iran, 2009-2010; Women’s March 2017, in Boston; and the Vigil for Sara Everard, 2021, in England. By depicting the different movements in this work, I establish connections to societies that are too easily dismissed as "the other." I aim to demonstrate that violence against women is related, even if the practices differ between cultures.
Brittany Kiertzner
Thatesato:tat/ Be Quiet, 2023
Encaustic, plaster, cotton and silk embroidery fiber, yarn, waxed cord, zip ties, repurposed textiles, steel wire frame [43 x 46 x 3 inches]
Thatesato:tat/ Be Quiet, embodies feelings about how women may exist in a sense of place and purpose. How one might abstractly show how imperfections, physical trauma and resiliency may transform. The color palette is grounded in memories relating to quilt made by the artist’s Indigenous Great-Grandmother.
Sarah Bearup-Neal
Boro Grid, 2018
Hand stitched scrap fabrics. Painted, printed + altered papers. Composition mounted on Luan substrate [22 x 21.5 inches]
Ruth Tabancay
Adapting to New Substrates 4.0, 2023
Plastic, embroidery floss, silk organza [50 x 56 x 4 inches]
I hope that bacteria, fungi, and larvae will digest plastics that are overwhelming the planet. But will they do it fast enough?
Katrina Perdue
a vessel for water, 2022
Rubber water bottle, cotton thread, purple heart plant cutting.
Julie Kornblum
Gyre, 2020
Discarded & disposable plastic, surplus yarn [45 x 45 x 2 inches]
Coiled basketry wall piece incorporating discarded plastic items.
Mimi Graminski
Surprised by Bravery, 2021
Doll clothes, crocheted yarn, fabric, thread [6 ft x 3 ft x 6 inches]
This work began with a box of doll clothes from the artist’s childhood. While some were purchased, many she made as a child, in some of her first forays into art. They were made of scraps from homemade clothes and from findings brought by her parents’ friends, who worked in the garment district. To create this work, she used the clothes as a jumping off point and combined them with freeform crochet, highlighting the colors popular in the 1960’s. She wove together the clothes and yarn, with memories and emotions, in what was an organic process, to create a series that is a tribute to resiliency and creativity.
Amy Usdin
Field Notes 02, 2023
Animal and plant fibers on fishing net fragments [15.5 x 9.5 x 0.75 inches]
Virginia Mahoney
Urgent Action Required, 2022
Reclaimed/re-formed old work (aluminum, steel, acrylic), reclaimed food net, thread, words [59 x 19 x 6 inches]
Quotes from the IPCC (Intergovernmental Panel on Climate Change) Sixth Assessment Report on Climate Change are Embroidered on the surface of this work. They are almost lost in the texture, just as the shocking facts of climate change are lost on those who don’t experience it directly. Is anyone heeding this report? When will we take REAL action?”
Ann Vollum
Rosebud, 2023
Fabric, repurposed PET fibers, hardware cloth, embroidery floss, wool, wire, beads, wire, washers, vintage costume jewelry, basket cord, sequins, silk flowers [35 x 13 x 10.5 inches]
Inspired by nature, I am drawn to warm earthy tones achieved by eco and rust dying.
Norman Sherfield
Hedonic Continuation, 2022
Waxed Linen and found objects [5.5 x 3 x 3 inches]
Fetish to remembering childhood memories, jacks, bones, buttons, beads and more, triggers of youth.
Anna Wagner-Ott
Triangulation, 2024
Stretcher Bars, Tyvek, yarns and acrylic paint [30 x 25 x 6 inches]
Triangulation speaks to human containments and the desire to break free of our insecurities and fears.
Naomi Falk
Eclipsing (from me to you), 2024
Hand appliqued and quilted reclaimed fabric, clothing [60 x 40 x 1 inches]
This is the story of how my partner and I re-met after 26 years and the map of our road trips between South Carolina and Colorado where each of us lives. The Eclipsing travel quilt charts 7 years and 3 eclipses, driving back and forth. This may be hung on the wall or worn as a stole.
Lisa Thorpe
Shadow Me, 2022
Fabric, thread, montype fabric, spray paint [42 x 50 inches]
Shadow me was created with photos and exray printed on fabric, along with monotype printed fabric and heavily stitched with emboridery thread. This piece speaks to the signs and symbols that present themselves in our everyday lives. Are they omens, luck, chance, curse or charm?
Michele Pollock
How Grief Moves Through the Heart, 2022
Foraged invasive Bittersweet vines; raffia; paper left over from bookbinding work I can no longer do because of chronic illness; interfacing; cotton embroidery thread; cotton sewing thread; waxed linen thread [26 x 8 x 4 inches]
Over the past year or so, while coming to terms with being diagnosed with Scleroderma (a rare autoimmune disease that makes it difficult to do many things, including machine stitching), I started hand quilting, burning, and hand embroidering into paper that I eco-dyed using leaves from my forest floor. The small intuitive quilts are like fragile skins, like maps to unknown places, like the shapes of cells and antibodies under the microscope. I foraged invasive Bittersweet vines from my woods, where they wrap around small trees and branches and can be harvested with amazing spiral shapes. When I laid out the vines on my workbench and twined them with raffia where they touched, it created a solid structure with curved shapes and spaces between the vines. I've been searching for ways to "frame" or present my little quilts, and I cut pieces to fit in some of the spaces between the vines and attached them to the vines using waxed linen thread and a modified bookbinding stitch. In the remaining spaces, I wanted something more open, less solid, to contrast with the quilts. I looped in those spaces using fine cotton variegated sewing thread that I waxed with beeswax. These "webs" are delicate and messy, yet dimensionally stable. They have holes and ragged spots yet remain structurally sound and have their own strange beauty, like old cobwebs in nature but also like my tangled emotions, my struggle to come to terms with my illness and remain intact.
Jo Westfall
Copper Prosody, 2022
Repurposed machinery wheel, guitar strings, copper wire, drum snare, hand-forged metal hook, reclaimed pulley [18 x 20 x 6 inches]
The factory shut, the strings broke, but...I will continue to play.
Rima Day
Hiding Passion in a Dainty Glove II, 2022
Silk Organza, Thread, Lace [4 x 8 x 4 inches]
