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Profile Pictures, 2010-2011
Embroidery on aida cloth, two 5" diameter circles and one 6" diameter circle
Embroidery on aida cloth, 4" tall by 9" wide oval
Embroidery on aida cloth with small rhinestones, 4" tall by 9" wide oval
Embroidery on linen, 16 1/2" x 21"
Ribbon Piece (Why hasn't he called me / Stop calling me), 2010
Embroidery on grosgrain ribbon, two 4" spools. Height varies.
As a shy child, I spent long hours in self-imposed exile, creating
needlework projects. Needlework afforded me time to reflect
on my own problems while also taking a break from the hard
work of solving them. As an adult, I continue to seek out
repetitive tasks, using the time where my hands are busy, but
my mind is alert to ruminate – often analyzing my experiences
Women artists in the 1970's began resurrecting traditional
"women's work" as a means to address the difficulties of being
taken seriously in a male-dominated art world. By appropriating
the skills that Victorian women were required to master in order
to prove their gentility and readiness for marriage, contemporary
women hoped to comment on the art world's patriarchical
values. The tools, they reasoned, needed to be reexamined.
Why did art need to use steel to be valid, for example?
While researching the type of embroidery I created as a child,
I found that embroidery was part of the education of mainly
white women of means. I imagined cynically that women were
kept busy doing embroidery at home so that they might not
notice that they were prohibited from participating in public
affairs, which were controlled by men. I also began to view
embroidery as a way that women themselves perpetuated
Utilizing a medium with such a weighted past, my work
shows moments of my own power within modern relationships.
I mock men's clumsy sexual advances, and redraw the idealistic,
married future pictured in many Victorian samplers.