SENSUAL SILK THREAD PAINTINGS 2020—2022

Artist Statement

My work addresses female empowerment through the lens of a male-dominated society.  

I present intimacy and connection joyfully and lovingly. My work is full of humor and play. The need for nonjudgmental human interaction is instinctual for survival. Sharing one’s essence with others unguarded creates human humanity. 

I am a female Western multimedia artist. I create silk thread paintings influenced by Shunga and Chinese Silk Embroidery. They are displayed from magnetic teak bars or within bamboo embroidery hoops. My Western viewpoint adds humor while honoring the two ancient art forms. 

A Westerner presenting this body of work raises questions. This creates an educational segue bridging east and west.

This sensual-themed body of work grew as I recoiled from our acrimonious social climate. I felt the need for a figurative, collective, and supportive hug. The work is spoken from a sensual female voice, confident in her value and worth both to herself and the society at large, not one of objectification. The backstory to this series is one of female sensuality, a powerful force that challenges the patriarchal hierarchy. Females and female identifiers are too often shamed for their power, undermining their vitality and beauty. Sensuality can lead to sexuality, yet sensuality is a power in its own right.  

I establish the shape of each character as a line drawing. Once I begin with the color and embroidery, each face begins the journey of individualization. Each color or mark I make adds depth, dimension, and emotion, creating a personality I am meeting for the first time. As I interact with the figures I am creating, their personalities develop, and the work becomes a back-and-forth, with each layer adding to the dialogue.

My choice of using sewing as a medium is intentional. Working with dupioni silk supports and complements the sensual narrative.I am purposefully using a medium that has historically been considered women’s work. It has also been considered a craft and not a fine art. By using sewing as a medium and purposefully presenting it as fine art, I am usurping the male-dominated accepted forms of fine art creation.  

Process

I establish the shape of each character as a line drawing before transferring the design to silk. The color palette is created using a staining process. The embroidery layer finishes the personality of the artwork. I work in a conversational mode as the personality takes shape. Each mark adds depth, dimension, and emotion. I am creating a personality that I am meeting for the first time. 

My Asian influence:

I grew up with my mother’s collection of Asian art and artifacts. The graceful movements of Asian calligraphy spoke volumes to me. The narrative quality of Japanese woodblock prints brought me into a magical world. I could not read the language, so my reactions were visceral, responding to the rhythmic lines and shapes. These works still hold power over me.