Linda Anderson
Finding Comfort, 2021
48" x 40" Fabric fiber art
Knowing that so many children around the world are deprived of the kind of childhood that many of us take for granted, my heart was painfully drawn to the faces and gestures these boys shared with each other as they worked in the brick yard.
Katayoun Bahrami
The Weight of the Wall, 2022
25" x 50" x 120" Crochet, forty 4" x 2" x 8" cement bricks with cotton and metalli
The ‘Weight of the Wall’ conceptualizes connecting between the present and the past. Containing references of profound cultural and political significance, it includes the suffering of exile and separation, the longing for home, the confinement of the female body, and violence through suppression. Watch Video
Marie Bergstedt
2020 Vision: Keeping Six Feet Apart in Chaos, 2021
66"x 53" x 3" Cotton, silk, hemp, buttons, interfacing, dye, paint
2020 was a year of Covid 19, fire, smoke, hurricanes, politics and confusion. The most common sign posted everywhere in my neighborhood was "Keep Six Feet Apart". My state of mind, especially on September 9, 2020, is depicted here. A day as dark as night. A sky as red as blood. No human touch.
Sarah Black-Sadler
Should I say 'singers of' instead? 2020
80" x 72" Acrylic and graphite on muslin, canvas and velvet
Eszter Bornemisza
Waste-Borough, 2019
110" x 59" x 6" Vintage clothing bits, newspaper, plastic
The new generations have been desperately hoarding and disposing clothing. Prized items are falling down into the well of time. These garments were worn by ancestors for a lifetime while we discard ours in a few years. Stuck in the rut of mindless consumption we keep creating we keep creating trash.
Sue Bradford
Intertwined, 2020
4.5" x 2.25" x 2.25" Machine stitch on hand-tatted lace
Machine stitched images of women from all walks of life and eras onto a hand-tatted lace to visually show a continuing lineage of women which wends its way back on a spool of time
Sue Conner
Listen to the Lichen Grow, 2022
15" x 10.5" x 6" Fiber and found objects
This 3-dimensional fiber art piece incorporates hand stitching and found objects, utilizing re-purposed and altered fabric.
Delaney Conner
Femme Fatale 2, 2022
30" x 24" x 1" Fiber punch needle
Victor De La Rosa
WHITE PEOPLE, 2020
96" x 10" x 2" Polypropylene rope, cotton yarn
An exercise in coping.
Margaret Jo Feldman
Cold Comfort Quilt (Trigger States), 2022
54" x 72" x 1" Wool felt, cotton thread
Cold Comfort Quilt (Trigger States) is composed of 12 quilt blocks of hand-cut designs representing the initials of 13 states. These 13 states have trigger laws that went into effect when Roe V. Wade was overturned by the Supreme Court resulting in the banning of abortions.
Jayne Gaskins
On the Streets Where I Live, 2020
21.5" x 15.5" x 1" Fiber
Homeless in America. We walk by these people every day. They decorate city streets with sad reminders of the deep poverty that permeates the underbelly. No, it’s not “pretty”, but it is the picture of stark reality in a world where the divide between the wealthy and poor gets wider every day.
Caryl Gaubatz
Choir Robe, 2022
42" x 27" x 6" Wearable art
"Repurposed Army Uniform, rayon thread, free motion machine embroidery Constructed"
Mindy Goodman
No Exchange, 2022
14.5 x 13.75 x 11.25 Paracord, thread, hand stitching
Joyce Gordon
Women of the World, 2021
27" x 72" x 1" Textile hand embroidery
‘Women of the World: More than a Five Second Soundbite’ A visual story of the many women who have had no voice past and present making a very strong social statement toward change in our world.
Leslie Horan Simon
Xerxes, 2022
49.75" x 31.12" x .75" Wool from 15 rare sheep, silk organza, tulle, cotton
Felted wool and hand-stitched fabric
Lotta Helleberg
Comfort, 2022
95" x 95" Walnut dye and botanical prints on vintage cotton and linen
Remnants and vintage fabric, naturally dyed and printed, and assembled into a quilt form inspired by traditional quilt patterns.
Susan Iverson
All Things Equal - Waiting (72dpi) 2022
26" x 72" x.25" Tapestry - wool and silk on linen warp
“All Things Equal - Waiting” looks to the far past and the far future. A time before humankind and perhaps a time after us. A time when nature inevitably alters the face of the earth, healing and evolving.
Dong Kyu Kim
My Body is a Battleground #1, 2021
31" x 31" x 2" Face masks, laser print photo, thread
My Body is a Battleground#1 is composed of my previously-worn face masks from the COVID-19 pandemic, along with printed images of my face from visas and driver’s licenses. The materials are sewn together by hand to create a patchwork design.
C. Pazia Mannella
Cornucopia Graffito, 2021
40" x 90" Sharpie on cotton yarn
Hand woven on Thread Controller 2 (TC2) digital Jacquard loom with rope twisted fringe. My creative research in weaving features architecture with symbolic flowers, laurels, and cornucopias symbolic motifs that culturally represent wealth, prestige, and power. I hand weave on a Thread Controller 2 (TC2) digital Jacquard loom. The loom operates, in many ways, the same way all looms have operated since ancient time. The warp is tensioned through the loom and the weft is passed back and forth, by hand, using a shuttle. The loom uses the binary system principle to all woven structure and digital images. I weave in a banner scale that relates to human scale in architecture. The woven banners interface and obstruct. Weave structures are designed to visually constitute a digital image that I manipulate and repeat. I am scratching the soft and patterned surface of cloth, the digital image, and architecture. Marking with bleach, marker, and water and oil-based paint, materials often used to clean and preserve or destroy and vandalize the surface of architecture.
Linda Marcus
I don't know (AKA: Boxed), 2021
26" x 30" x 3" Hand-dyed recycled bedsheets, embroidery floss, thread, neon
This piece is about the struggles of decision making. I hand-dyed bedsheets, embroidered a topographical map design on the top and then embedded words related to the back and forth of decision making and it's landscape. I added red neon as a nod to the history of road signs and direction.
Kathleen Mcconaughy
Democracy Sampler, 2022
52" x 50" x 1" Quilt
Cotton quilt including hand dyed and commercial fabric, piecin, heat bond appliqué, trapunto and embroidery.
Deborah Morris
Fragment - Tatreez 3, 2022
10" x 11" x 1.25" Ceramic, embroidery
Palestinian embroidery, tatreez, is kept alive by Palestinians in the diaspora. By combining it with ceramics which have been formed, then broken, it reflects a peoples' history and resilience in the face of continuing conflict.
Youngmi Pak
Embracing and Letting It Go, 2022
6" x 7" x 3.5" Mosi (traditional Korean plant based fabric) and thread
This is a three dimensional sculptural piece using a traditional Bojagi sewing technique using only threads and Mosi (traditional Korean plant based fabric). This piece explores the relationship between two elements, one geometric and stable, and the other organic and full of movements.
Mary Pal
A World of Difference, 2021
48" x 35" x 0.25" Cheesecloth, hand-painted cotton canvas
"Sir David Attenborough, whose recent documentary. A Life on Our Planet, while celebrating the natural world, makes grim predictions for the future should humanity continue on its current path. We must consider how each of us can and must make “a world of difference.” From a photo by Sam Faulk"
Sariah Park
Spirit Guide, 2020
22" x 15" Monotype using handmade paper
As an Indigenous artist, my work challenges the status quo of making and asks important questions regarding consumerism and post colonialism. This body of work explores a decayed utopian wasteland. What an abandoned world might look like and what I leave behind – remnants and artifacts of a miscarried future. Through my work, I am asking the question – can printmaking and weaving be used as a tool to unmake waste? Every year over 20 million tons of post consumer textile waste are put into landfills. After working as a textile artist and seeing this waste creation first hand, my work strives to unmake waste and give value back to materials. My work acts as a conduit to my Native Ancestral knowledge, using what some in our society might consider waste, transforming discarded material into new forms. These pieces come to life by listening to my materials and letting them dictate the final outcome, showing how even the most damaged materials can be repurposed to bring about something new.
Maggy Rozycki Hiltner
Superfun(d), 2021
96" x 144" x 1" Machine and handmade quilt
Theda Sandiford
Blackty Black Blanket, 2020
60" X 36" x 120" Commercial fishing net and black zip ties draped on couch
I am exploring implicit biases and creating aesthetic armor for protection using a blanket created from recovered commercial fishing net and thousands of black zip ties to shield myself.
Charlotte Schmid-Maybach
Flying Over Land II, 2020
17" x 23" x 2" Sewn archival pigment prints on kozo paper, metallic thread,
This piece began with my photograph of a crumbling wall at the military bunker Fort Worden, Puget Sound, Washington. I sewed on the photograph and added a mesh of silver knitted wire and paint. The piece reminds me of an aerial landscape, evoking dreams of travel and other worlds during Covid.
Adrienne Sloane
An Incalculable Loss, 2021
32.75" x 20.25" Fiber
This is the front, all obituary page of the NYT from May 24, 2020 overlayed with the name of George Floyd who was murdered the following day, May 25th. This small quilt is a visual reminder of the intersection of these events as well as social inequities embedded in them.
Amy Usdin
Picnic at Dead Horse Bay (panels 01-03), 2022
94" x 60" x 50" Silk and plant fibers needle-woven onto vintage fishing nets
I needle-weave abstract landscapes onto worn fishing nets reminiscent of those made and mended for millennia. With ragged imperfections woven into the new, the transformation becomes part of a continued narrative—a metaphor for themes that weave past to present and each of us to another. Picnic at Dead Horse Bay embodies this idea of revolving histories, suggesting stewardship not only of the land but of each other. Evoking Dead Horse Bay in Brooklyn, NY, where a carelessly capped landfill continually litters the beach with remnants of lives largely disrupted by eminent domain, the bay provides a cautionary tale that the past resurfaces, sometimes unexpectedly, often consequentially. Before its closure due to the discovery of radioactive contamination, visitors scavenged the beach without necessarily thinking about the fragmented lives underfoot. Similarly, without the backstory, this piece doesn’t outwardly reveal its narrative, underlining how easy it is to gloss over histories
