'Last Night', 2017, installation and performance

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'Last Night', 2017, installation and performance r (detail)

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'Last Night', 2017, installation and performance  (detail)

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‘My Back’, 2017, 50 x 60 inches, ink on woven microfiber

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‘My Palm’, 2017, 60 x 80 inches, ink on woven microfiber

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‘My Body’, 2017, 60 x 80 inches, ink on woven microfiber

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‘Somewhere in Here is Meaning’, 2017, 51 x 61 inches, ink on polyester tapestry

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‘Chewing’, 2017, 51 x 61 inches, ink on polyester tapestry

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‘Hair Tie’, 2017, 23 x 23 inches, stuffed microfiber, embroidery thread

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'Sex Object!' 2017, 22 x 22 inches, stuffed microfiber

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'Sex Object?' 2017, 22 x 22 inches, stuffed microfiber

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'Lace,' 2017, 16 x 20 inches, ink on lace

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'Blush,' 2017, 16 x 20 inches, ink on found fabric

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'Listening', 2017, 44 x 47 inches, ink on satin silk robe

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'Crying, Crying', 2017, 44 x 47 inches, ink on satin silk robe

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'Jewish Profile', 2017, 44 x 47 inches, ink on satin silk robe

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'Embroidery Hoop I', 2017, 20 inches, ink on silk in embroidery hoop

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'Embroidery Hoop II', 2017, 20 inches, ink on silk in embroidery hoop

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Installation View

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Construct of Viewpoint

The development of textiles as a medium is lengthy and evocative. Largely women oriented, seamstresses created and circulated pieces often reflecting their era or customs without an insertion of their personal identity. The textile work itself was so heavily influenced by the woman’s hand during the production process, but the identity of the maker receded once the piece was out of her hands. Somewhere between the actions of creation and presentation of the object there is a loss of explicit identity attached to the work.


I’m interested in incorporating this premise with that of contemporary self portraiture photography, as an exercise of advocating female identity. The integration of self portraiture and textile grants a clear authority over the female body, as declared by the artist. Construct of Viewpoint therefore offers no separation between maker and object. In this sense, it is an act of power for the female to relentlessly insert herself into her own work. From its creation to its public reception, the female is observably present.

Using Format