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.
repurposed domestic textiles, thread, ink102h 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.
painted vintage linens and deconstructed clothing, hand stitching of various methods of manipulating fabric historically used in clothing construction16' 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