Saturday, March 31, 2018


Curated Feature
By Deborah Winiarski

During the past century, artists working with fiber have pushed the boundaries of what can be considered a textile, as well as how textiles are represented within the context of contemporary painting and sculpture – challenging long held distinctions between textile, craft, and fine art. The artists whose work is shown here continue this new tradition, combining wax and encaustic with a variety of fabric, fiber, and mixed media materials to create statements uniquely their own.

Sandi Miot    

 Sandi Miot, Red Biome, 2016; encaustic, fiber, yarn, felt, fabric, paper, lace, dried plants, seeds, pods, 
pastels; 15 x 18 x 4 inches

Biome is a dialogue, influenced by our vanishing coral reefs, a visual investigation into texture and color. It is a testimony to the amazing, astounding variety of organisms that live on this planet.”


Lorraine Glessner

Lorraine Glessner, Soon, Soon, We Will Dance on the Moon 1, 2014; encaustic, collage, pyrography on screen printed silk on wood; 24 x 24 inches

“Utilizing processes such as burning, rusting, decomposition, burying, or weather exposure, layers of fabric are collaged with encaustic, images and found materials. Through pattern and collaged images, narratives interact with and contextualize the markings as well as speak to our wants, needs, temptations and desires as a culture.”


Jane Nodine

 Jane Nodine, Selected Offerings, 2016; iron oxidation, muslin, cotton, sisal, wax, 
graphite; 54 x 4 x 2.5 inches

Selected Offerings uses textiles to create as a single bound unit of cotton batting repeated again and again to develop a pod-like strand formation that is suspended and hangs freely to be observed from all sides.”


Lisa Zukowski

Lisa Zukowski, Bundle Series, 2016; encaustic monoprint on fabric, burlap, old clothes, embroidery, 
string; 6 x 3 x 2 inches

"The works in the Bundle Series are vessels, reliquaries of a sort, that symbolically and sometimes literally hold and protect that to which I have attached deep meaning and have difficulty discarding. They are filled with shredded ephemera and are made up of bits of old clothes, coffee bags, encaustic monotypes, and fabrics."


Deborah Winiarski

 Deborah Winiarski, Dover Beach, 2016; fabric, graphite, oil, encaustic on panel; 
31 x 36 x 4 inches

“Color, form and line expand beyond the painting surface in my recent mixed-media paintings. Fabric strips accrue to create raised and textured surfaces that weave, twist, mingle, and intertwine creating visual fugues that literally break out of the picture plane. The torn and folded strips provide form, dimension, and color; their edges, line.”


Susan Lasch Krevitt

 Susan Lasch Krevitt, The Gathering IV, 2017; textiles, rubber, encaustic; 
26 x 13 x 13 inches

“My work explores themes of structure and connection. Nature’s cycles of growth and decay are referenced through the deconstruction of manufactured objects used to build abstract forms. In this way, direct engagement with materials begins the dialogue that shapes form and surface.”


Dawna Bemis

Dawna Bemis, Kaleidoscope II, 2015; encaustic monotypes, newsprint, machine and hand stitching on panel; 
18 x 18 inches. Photo: Jay York

“In my most recent series, I draw upon quilts as a metaphor for the loss of generational knowledge transfer. With this work I explore issues of identity, gender, and family history. As I develop these pieces, I connect with the many hands that have worked these geometric patterns over time.” 


Cat Crotchett

Cat Crotchett, Ghosting 2, 2017, encaustic and mixed media on panel, 12.5 x 12.5 inches
Photo: Aoi Fukuyama

"I've always been interested in pattern and fragments of information and how our brains processe parts of things when placed next to one another, without physically seeing the greater whole. In this piece I have focused on the interrelationships between patterns and the new identities that are formed when patterns are layered and juxtaposed." 

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