Connotation no. 3. Hand-embroidered paper collage, 11 x 11 inches.
This new series takes a leap from the minimalist compositions made last year.
Simply embroidering postcards alone, I was able to achieve a wide array of compositions–but ultimately I wanted to work bigger and try more elaborate patterns and shapes with the thread. First, I needed larger imagery, which, most notably in this series, I found in the beautiful pages of 1950s LIFE magazines. A long-time fascination with radial compositions and mandalas led to these radiating layers of geometric collage.
Connotation no. 2. Hand-embroidered paper collage, 11 x 11 inches.
Unlike most of my previous embroidered works, which were designed and punctured from the back (almost arbitrarily in relation to the imagery the thread would overlay), these layered pieces required a lot of attention paid to every element, in order to keep things lined up and symmetrical.
Connotation no. 26. Hand-embroidered paper collage, 11-3/4 x 11-3/4 inches.
Connotation no. 5. Hand-embroidered paper collage, 11 x 11 inches.
Connotation no. 13. Hand-embroidered paper collage, 9 x 9 inches.
Connotation no. 14. Hand-embroidered paper collage, 9 x 9 inches.
Connotation no. 8. Hand-embroidered paper collage, 9 x 9 inches.
Connotation no. 9. Hand-embroidered paper collage, 9 x 9 inches.
Connotation no. 27. Hand-embroidered paper collage, 12 x 12 inches.
I enjoyed distorting and juxtaposing these mid-century images. It was a challenging series, and I’m looking forward to creating more in this style.
This series debuted in a solo exhibition at Joe Bar in April, 2012. Available works in the shop!
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Hand-embroidered archival inkjet print, 10 x 10 inches.
Created for ONN/OF, a two-day art festival of Light.
I was invited to contribute a piece of art and a drink recipe for the Visual Art Happy Hour of the ONN/OF art festival, which was all about providing Light in the midst of Seattle’s generally dreary gray winter. During one of these gray mornings, I took a photo from my living room window. While there was some digital manipulation in the textures of the clouds in the photo, there was not much further color-adjusting necessary–it really was a perfectly flat, gray morning.
I had two archival inkjet prints made of the shot. Still interested in embroidery, I decided to sew up the first, preparing a mandala pattern which generated a sun-like shape.
Das Hermosa Mimosa Platter, mounted archival inkjet print, 16 x 16 inches.
The second print, altered with a set of glowing orbs radiating from its center, served as a platter for the drink portion of my contribution: Das Hermosa Mimosa, an editioned set of mimosa gelatin shots, presented individually in 1.5oz paint containers–wee doses of delicious light and beauty. A tasty little treat, I thought.
Das Hermosa Mimosa, 1.5oz champagne & oj gelatin shot in paint container, edition of 25.
I am happy to report that all 25 shots were snatched up during the Happy Hour. I hope they brought a glow to those who consumed them!
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Conformation No. 7. Hand-embroidered oversize postcard, 9 x 6 inches.
A series created for my new shop!
I am very excited to launch a new online shop, featuring this series of nine new oversize postcards.
Conformation No. 2. Hand-embroidered oversize postcard, 9 x 6 inches.
Conformation No. 6. Hand-embroidered oversize postcard, 9 x 6 inches.
Conformation No. 3. Hand-embroidered oversize postcard, 9 x 6 inches.
Conformation No. 8. Hand-embroidered oversize postcard, 9 x 6 inches.
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Hand-embroidered magazine (TV Guide, October 1970). 6 x 9 inches. Collaboration with Troy Gua.
A Troy Gua Production
Troy’s latest exhibition, The Sweet Life (Act Like You’re Interested), is a show ‘with many threads’–figuratively with its multiple intertwining core ideas and, with my contribution, quite literally. Troy asked three other artists to generate work for his show. Under his direction [thread], he provided me with a chosen TV Guide cover (after this set), which would rest on the arm of his father’s [thread] old recliner. Surrounding it: trash as art [thread], cleverly-arranged and -manipulated family portraits, art-negating-artworks [thread], and a plastic Jesus swinging from a toy helicopter [thread], among others. If that reads like a mess, it’s probably because it is a little–and it’s a mess I’m very pleased to be a part of.
Holding Pattern (installation view)
The show runs through November 24 at NEPO House in Columbia City, Seattle.
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