And similarly, there’s this Elaine de Kooning painting that I put in, and it also has some greens and turquoise. It’s called “Bacchus.” I was just — oh, now I’m really glad I printed these out (photos of paintings). Yeah, they’re coming in really handy! And then here are the Frank Lloyd Wright windows that are part of the collection. Yes. Okay. So, that is an important thing that I like to reference in the way that I sew. When I sew two colors together, there’s always a seam, and that seam makes a line. And when there’s sun shining and you’re underneath it, or you’re seeing it with light through it, it kind of creates a new color, or it makes the line more prominent. That’s something that I would throw in — a black line or a thin dark color — to kind of reference the stained glass and the way that it’s built. Also, it has all of these angles. There’ll be a bunch of small little lines and then a larger shape. I definitely thought about that too. In one of my pieces, I have a lot of thin little stripes and then a larger breathing space, like a larger pane of glass. And I guess I would say the same about these two pieces also that are in the collection. This is Sophie Taeuber- Arp and Albert Gallatin. So, so far, we’ve got color and then these bold moves. A lot of dark and light and then pops of color. Then there’s this Sam Gilliam painting. It’s a painting that’s actually patchworked together, which means a lot to me for my work to be seen in that way. Here’s a direct example of someone who is patchworking, picking pieces of his painting to create a shaped painting. You can see there’s a triangle on the inside, and several of the pieces that I made are based on a triangular pattern. So, I was thinking about that. And he, too, has a lot of white and dark. There’s a lot of light and dark play. So, in synopsis, to reference the abstraction, I love to be thinking about light and dark, translucency and opacity and how an off-tone color can provide a breathing space for the piece as a whole. And so, that’s the direct reference, I guess, to the abstract painting. In a blog post on She Explores, you said that in the beginning of your career, you wanted to challenge the dialogue that often surrounded your work in relation to craft and sewing by creating larger and bolder work, as if to deem it more masculine. How do you think the feminization of textile arts affects how viewers engage with your art? I will say that I feel like there’s an inherent sincerity to textile work where people can imagine how things are made by hand. And, most often, historically, a lot of those makers were women. It was a way to express themselves. And then, the piece that I’m making outside — I have my
Made with FlippingBook Ebook Creator