Lace I. 2017, 33 x 40 inches, ink on lace
Lace II, 2018, 16 x 20 inches, ink on lace
Lace III, 2018, 33 x 40 inches, ink on lace
Lilith (Veil), 2018, 24 x 30 inches, ink on silk, quilting hoop
Quilting Hoops I-V
My Back, 2017, 60 x 80 inches, ink on woven microfiber
My Body, 2017, 60 x 80 inches, ink on woven microfiber
My Palm, 2017, 50 x 60 inches, ink on woven microfiber
Chewing, 2017, 50 x 60 inches, ink on cotton tapestry
Sex Object I, 2017, 22 x 22 inches, stuffed microfiber
Sex Object II, 2017, 22 x 22 inches, stuffed microfiber
Hair Tie, 2017, 23 x 23 inches, stuffed microfiber, embroidery thread
Shadows, 2018, found dress, ink on silk, embroidery hoop
Listening, 2017, 44 x 47 inches, ink on satin silk robe
Crying, Crying, 2017, 44 x 47 inches, ink on satin silk robe
Jewish Profile, 2017, 44 x 47 inches, ink on satin silk robe
Installation View
Installation View
Installation View
Construct of Viewpoint
Construct of Viewpoint is a body of work made up of photographic self portraits printed on various textiles in exploration of female presence, identity, and assertion.
When a self portrait photograph is created, so is a direct connection between the artist and the subject matter. The maker of the image is the purpose. Such is not said for a large portion of traditional textile works. Largely women oriented, seamstresses created and circulated pieces often reflecting their era or customs without necessarily 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 explores an authority over the female body. The works have no separation between maker and finished 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.