Leslie Bruch
Code Blue, 2022
linen hand-dyed with indigo; cotton embroidery floss 20 ½ x 16 ½ x 1 inches
This piece uses embroidery and linen fabric that I hand-dyed in indigo to depict the fragility of life, showing a clear and literal transition from life to death. The red embroidery (life blood) shows a normal heart rhythm (left side) going into ventricular tachycardia, a fatal heart arrhythmia, if not corrected. A "Code Blue" is called in a hospital to resuscitate the patient. Unsuccessful resuscitation leads to a flat line (death). The hanging thread represents the gut-punch of loss experienced by those who survive; the family and loved ones as well as the healthcare workers trying to save that life. Even without knowledge of heart rhythms the message of this piece is unmistakable - a heart beats until it doesn't.
Leslie Bruch
Finding My Voice, 2025
Cotton warp; wool weft; felted wool, wool embroidery; wool covered wood panel 18 x 14 x 1 inch
My ability to recognize, trust and own my voice has grown over time and I wanted to reflect that in this piece. What starts at the bottom as whispers and small, self-acknowledged truths in black evolve upwards into stronger, more certain thoughts and beliefs represented by thicker black lines. These converge over time to crystalize into a clear and definite voice which is reflected by the central black box near the top. The stem and leaves that overlay the structured black-and-white elements represent the importance of recognizing the organic elements that contribute to our voice and of being receptive to spontaneous experiences. These elements often take root unseen in our lives, conveyed by the stem beginning from beneath the piece.
Leslie Bruch
Becoming, 2024
Cotton warp, wool and wool blend yarn, vintage wood racquet presses, binder rings 34 x 12 x 2 inches
This vertical triptych depicts individual components coming together to become a whole as you move from the bottom to top panel. The black boxes or individual components coalesce to form the plus sign which symbolizes summation and positivity. The subtle slits (representing an incomplete state) are seen most prominently in the bottom panel and gradually lessen and disappear by the top panel. This piece also uses non-traditional, repurposed materials. Vintage wood tennis racquet presses were disassembled then warped and used as the loom on which each panel was woven. On this level the old material (wood frames) has become something new. The panels are connected by binder rings.
