Miniature Fracking Blanket

Miniature Fracking Blanket, 2019 hand-stitched cotton thread on linen, 6" x 6"

"We are letting the extractive energy industries turn the world inside out." - Josh Fox

Although Miniature Fracking Blanket is a precursor to my work-in-progress series about fracking in Weld County, Colorado, it is mainly a stand-alone piece directly inspired by a woven Navajo blanket that was in my mother's family and that was recently sold (shown below). The story about who in the family purchased it - her father or grandfather - and in what year, got lost when she died. Her notes describe it as a Chief Blanket (third phase) 64”x 55”.

I thought about how the blanket ended up in my family. In doing some research I discovered a book titled Swept Under the Rug: a Hidden History of Navajo Weaving, by Kathy M’Closkey which explains the history of Navaho textiles in the context of colonization and economic exploitation. It includes an analysis of trader archives revealing that nearly all Navajo textiles were wholesaled by weight until the 1960s. M'Closkey explains how the Navaho artist’s weaving is "marginalized when the work is treated as a collectible craft and culture is split from commodity."

Miniature Fracking Blanket is a small piece, 6” x 6”, stitched in the mosaic style on a hoop. I wanted to create something in homage to the weaving’s beauty as textile art while at the same time acknowledging its context in the dominant culture. I replaced the central image in the blanket with a fracking/drilling rig to reference what is 'sacred' in a capitalist system that exploits the earth's resources for money. I chose this image in particular because the area that my mother's family is from, and where I grew up, is currently being subjected to extreme gas and oil extraction. 

I found this paragraph on a webpage of the Art Institute Chicago:

The Navajo believe that the deity Spider woman taught women how to weave and continues to work through today's artists by directing the growth and beauty of each textile they make. Finished blankets are thought to have life forces of their own, radiating a sense of vitality and harmony essential to the Navajo philosophy of hozho in which every individual strives to live in balance with the world.

https://www.artic.edu/artworks/157115/chief-blanket-third-phase

The Queen Of Wands Contemplates Saturn's Return

The Queen Of Wands Contemplates Saturn's Return, 2019,
 hand-stitched cotton thread on machine-stitched
dish towel remnant, 15.5" x 12.5"

This piece is another of my 'dish towel tapestries', using the mosaic style combined with outline stitching. The idea for it had been brewing in my imagination for a while, but I couldn’t start it until the work for my solo show was finished. During the time I was working on the show I had a three card tarot reading which included the Queen of Wands. I don’t know much about tarot interpretations but I was immediately intrigued by the images on the card and I decided to create my own personalized version of it. The overall composition of The Queen Of Wands Contemplates Saturn's Return is influenced by classical paintings and mosaics, especially the central figure of the queen. I included the traditional symbols of the card: sunflower, black cat, wand, lions - and I added my own: pug, flicker, Saturn.

In the reading, I was told that the Queen Of Wands embodies creativity and living an unconventional life. Here she represents 'the self' - myself - and aspects of the higher self. Her crown is consciousness, its yellow reflected in the yellow of the large sunflower to her left which represents the soul. The stone pug, out of which the sunflower rises, replaces a stone lion in the original version and symbolizes my past and its seemingly concrete life story. The black cat is an obvious archetype of the shadow, or subconscious, and was the first thing that struck me about the card.  Both the wand, a branch with green leaves, and the bird perched on it, symbolize the earth and being grounded and inherently connected to it. I added the flicker in particular because I've often found symbolic meaning in my encounters with them. The planet Saturn represents our human relationship to the cosmos and, personally, its second astrological return. I stitched the two lions as part of the background, almost like clouds, to portray them as ethereal thought forms and emotions. They surround the queen as she takes a break from holding up her wand in one hand, and sunflower in the other, to reflect on her life in a moment of time.

Duck and Rabbit

Musavir's Pink-Headed Duck,
hand-stitched cotton thread on machine stitched dish towel remnant, 2018  9"x8"

Musavir's Pink-Headed Duck is based on a watercolor painting (c.1780) by Indian painter Musavir Bhawani Das that I came across when I was researching animals for the Vanishing Kingdom. Although the pink-headed duck was once found in parts of the Gangetic plains of India, Bangladesh and in the swamps of Myanmar, it was feared extinct since the 1950s. Numerous searches have failed to provide any proof of continued existence but it has been suggested that it may exist in the inaccessible swamp regions of northern Myanmar and some sight reports from that region have led to its status being declared as critically endangered rather than extinct. 

Riverine Rabbit (Vanishing Kingdom), 2018,
 hand-stitched cotton thread on machine stitched dish towel remnant, 9"x8"

I wasn't able to fit a riverine rabbit on the original map, so I stitched this separate portrait, Riverine Rabbit (Vanishing Kingdom). The riverine rabbit, also known as the bushman rabbit or bushman hare, is one of the most endangered mammals in the world, with only around 500 living adults, and 1500 overall. This rabbit has an extremely limited distribution area, found only in the central and southern regions of the Karoo Desert of South Africa's Northern Cape Province.

I consider these two small stitchwork pieces to be bridge pieces between my old and new work. They both relate to the Vanishing Kingdom map, but I stitched them on dish towel remnants, and I'll be creating pieces on this particular type of dish towels for some of my next body of work. When I first saw one of the towels, which are machine stitched in a grid design, I knew that I wouldn't be using them in the kitchen! I was immediately drawn to the idea of combining my 'mosaic style' stitchwork onto their surface, thinking of the pre-stitched threads as the 'grout'. I like that I can compose images using the boundaries of a grid, especially since I'm continuing my exploration of translating thread into a reflection of traditional mosaics. They are companion pieces both in subject, size and medium, and are part of a group that I’m calling the 'dish towel tapestries'.

Palestine Flip Map

I See Palestine Apart-Hide (This) Map, hand-stitched cotton thread, linen, 2018  21" x 16"

"Memory adds to the unrelieved intensity of Palestinian exile. Palestine is central to the cultures of Islam, Christianity, and Judaism...there is no forgetting it, no way of overlooking it."  -- Edward Said, from After The Last Sky: Palestinian Lives 

I created this map as an outsider and especially as an American whose government is directly complicit in the ethnic cleansing of Palestine; I don't claim to speak for Palestinians or to portray the Palestinian experience. As I've learned about Palestine and the false Zionist narrative that allows its Apartheid project to continue unabated, I've found that I can't look away. I refuse to not see Palestine or to dehumanize Palestinians. I refuse to be willfully ignorant about its erasure or complacent about the myth that it never existed. 

As Palestinian writer Nada Elia states, "the Zionist logic would also deny that Native Americans existed, because they did not have nation states recognisable to Europeans." 
In 1948, almost 80 percent of the Palestinian people had become refugees, an estimated 750,000 people expelled from their homes, their towns and villages, and hundreds were massacred. This is what is known as the Nakba, or catastrophe. 

My map depicts, on the right side, Palestine both before and after the Nakba, filled with images that I stitched in the 'mosaic style'. They include ancient mosaics and architecture, an olive tree, Jaffa oranges, fishing boats, a roundabout in Ramallah, the sculpture of a horse that stands in front of the Jenin Freedom Theater--that has been raided by Israeli soldiers numerous times--and the Al Aqsa Mosque, the third holiest site in Islam. I also represent the three major religions in the area of Jerusalem, and I did my best to be geographically correct with the placement of particular images that I chose. 

The map on the left side is not a real place but represents an ideology which is based on supremacism and separation, enforced by the machines of war that maintain Apartheid and colonization. Its shape is Palestine flipped backward to symbolize Zionism as devolution, and I stitched within it objects that include automatic weapons, a drone, fighter jets, bombs, a tank, a surveillance camera, the Apartheid wall, a helicopter, and a bulldozer.

The two map shapes together reminded me of a butterfly, and it came to represent the unseen collective soul that underlies the activities of human life. The right wing of the butterfly is outlined by olive leaves, the left by bullets, depicting things of the world that are either soul nurturing or soul killing.

I based the line design that fills the background on the Palestinian scarf called a keffiyeh, and it represents two things at once: the veil of forgetfulness that allows humans to be separated from their higher selves and to forget the oneness that connects us all, and the oneness itself, the unified whole where all of our lives are intertwined. I framed this piece with the keys that stand for the right of Palestinian refugees to return. The title has a dual meaning - I see Palestine apart -- hide (Apartheid) and hide this map (this map should be censored because it doesn't fit the mainstream narrative).

https://www.jonathan-cook.net/2016-10-18/how-israel-seeks-to-erase-the-regions-history/

https://mondoweiss.net/2016/02/palestine-and-the-anxiety-of-existence/

https://972mag.com/before-zionism-the-shared-life-of-jews-and-palestinians/118408/

  

Tyche And Her Wheel

"Tyche And Her Wheel" 2018

"The slings and arrows of outrageous fortune"  from Shakespeare's Hamlet, 1603 

I stitched Tyche And Her Wheel in a modified mosaic style, using lines as well as square shapes. I was originally going to title this piece Fortuna And Her Wheel, but I changed it to the lesser known Greek version of the goddess. I also created my own idea of the wheel: it contains both the color scheme and images of vessels from ancient Greece, with depictions of a cornucopia, a hammer, a house, a bomb, a crutch, and a dollar sign. The image of Tyche is based on a figure in a French painting from 1605 by Thomas Artus.

Quoting E.S. Whittlesey from Symbols and Legends in Western Art, the goddess is shown with "a wheel as an emblem of chance, the turning of the year, the juggler of fortune... on some she heaped gifts from a horn of plenty, others she deprived of all they had; her overwhelming aspect was her uncertainty."

Although this piece is mainly influenced by Western mythology, its theme also relates to the wheel of Samsara from Eastern philosophy. In Buddhism, saṃsāra is the suffering-laden cycle of life, death, and rebirth, without beginning or end. It is often depicted as a circle divided like a pie into six realms.

I added other elements that represent both the impermanence and transcendence of mundane human experience: the goddess stands in front of the Tree of Life, holding an hour glass and preparing to spin her wheel, on which a bennu bird -an ancient Egyptian deity linked with the sun, creation, and rebirth - perches. This bird may have been the inspiration for the iconic phoenix that rises from the ashes, symbolizing resurrection and immortality.

The Vanishing Kingdom

"The Vanishing Kingdom"  15" x 24"  2018

                       

“It is estimated that one-third of all reef-building corals, a third of all freshwater mollusks, a third of sharks and rays, a quarter of all mammals, a fifth of all reptiles, and a sixth of all birds are headed toward oblivion.” -  Elizabeth Kolbert, The Sixth Extinction: An Unnatural History



This map is about the human-caused sixth extinction that is happening right now on the planet. I included animals that are already extinct and those that are threatened. I created it in its entirety in what I’m calling the ‘mosaic style’ by stitching squares, rectangles, and triangles that approximate the shapes of mosaic tiles. I envisioned this piece as a future relic portraying some of the animals that used to live on the planet.

I titled it the Vanishing Kingdom because visually it reminded me of a painting I knew from my childhood called the Peaceable Kingdom by Edward Hicks. The placement of the four sea stars on the sides is a nod to the formal symmetry of ancient mosaics, and the letters N S E W on the lower left to indicate direction are surrounding a thermometer that represents the heating planet.

I fashioned the design in stages, using the iron transfer method for the general outline of the continents, then drawing all of the figures directly onto the fabric with a disappearing ink pen, and filling in the land and water around them. It was difficult to choose which animals to include because I had to consider the aesthetics of the overall composition; I began with five and then made decisions about which ones to add from a relatively small list. I based my choices on species diversity and endangered status as well as on color, form and the animal’s geographic location on the map.
   
Out of all of the animals that I chose for this piece I’ve only seen dragonflies and sea stars in their natural environment, so some, like the rhinoceros, have assumed an almost mythological status for me. The unfathomable loss of this extinction event begs the question: how has the majority of the human species become so disconnected from the natural world? The ecologist Paul Ehrlich states that “in pushing other species to extinction, humanity is busy sawing off the limb on which it perches”.

The thirty-four animals in The Vanishing Kingdom, listed in alphabetical order:

Adelie Penguin, Barbour’s Seahorse, Black Footed Ferret, Black Rhinoceros, Blue Racer Snake, Dragonfly, Dall’s Porpoise, Elkhorn Coral, Euphrates Jerboa, Fin Whale, Giant Armadillo, Glaucous Macaw, Great Auk, Gunlack’s Hawk, Hammerhead Shark, Kawekaweau Gecko, Krill, Laysan Duck, Leatherback Turtle, Malaysian Snail, Monk Seal, Narwhal, Numbat, Panamanian Golden Frog, Pangolin, Polar Bear, Pyrenean Ibex, Quagga, Red Breasted Goose, Sea Star, Siberian Crane, South China Tiger, Tecopa Pupfish, Walrus


Here’s a link to The National Geographic’s Photo Ark website to see some of the astonishing and immeasurable beauty of the biodiversity on the planet, and to connect with the #SaveTogether campaign:
https://www.nationalgeographic.org/projects/photo-ark/

Mela Insana

"Mela Insana" 2016

A mosaic is a conversation between what is broken. — Terry Tempest Williams

With the exception of the tornado and a few line work details, I created this piece in its entirety by stitching small squares, and variations of the square, to evoke mosaic tile art. I consider "Mela Insana" to be a natural evolution of my some of my earlier thread pieces that utilize the square as a design element as well as my glass tile mosaic sculptures. 

I originally titled this piece "Aubergine" in reference to the dark color of the tornado and in the figure's dress, but because this piece is based on Raphael's painting "Elisabetta Gonzaga", 1504-06, I thought the Italian word for eggplant would be more appropriate. I discovered the name "Mela Insana", ("bad apple") which was folk-etymologized* from the Italian melanzana. I liked this play on the word and how it relates to the visual metaphor of the tornado. As an aside, Raphael also designed mosaics, most notably his ‘Creation of the World' in the dome of the Chigi Chapel in Santa Maria del Popolo, Rome, executed around 1516.

The landscape on the left side represents the past and its relatively untouched natural world. The right side represents an unknown future, with a tornado that symbolizes constricted energy containing the potential for both great destruction and expansive awareness. 

* http://languagehat.com/the-multifarious-aubergine/

https://en.wikipedia.org/wiki/Creation_of_the_World_(Raphael)

Demiurge With Map Egg

"Demiurge With Map Egg"  2016

“In the Mysteries, the Universal Egg was likened to an egg which the Cosmic Goose had laid in space.” 

— Manly P. Hall, The Secret Teachings of All Ages

“What the Greeks and Gnostics called the ‘Demiurge’ is a Universal Intelligence that fashions our world. One way to understand the Demiurge is to think of it as the World Soul.” — Tom Montalk 

In many ways “Demiurge With Map Egg” is an introduction piece for my future series of stitched maps. 

I refer to the egg form as a ‘map egg’ because each of the six delineated sections of the egg contain images that correspond to a separate map that will be in the new series. The egg works both as a specific metaphor - within it are the embryos of finished work - and as a more general symbol of Universal Egg, described in the book ‘The Secret Teachings of All Ages’: “in whose transparent depths creation exists…the perfect image of all terrestrial activity.”

The swing-set depicted in the central section also works on two levels. It will be one of the images in a map entitled ‘Memory Map’ and it refers to an actual swing-set from my childhood that evokes strong memories and associations. As a simple visual icon the swing-set, with its two side by side swings, also represents the duality of the manifest world: an individual ego identity and the named and defined world surrounding it.

In researching the Cosmic Egg, I came across the idea of the demiurge. Plato described it as a subordinate deity who fashions the sensible world in the light of eternal ideas. To the Gnostics, the demiurge is the immortal mortal, responsible for our physical existence (and the suffering we must go through in connection with it) by fabricating the world. Both of these definitions worked well with my intention for the figure in the piece to be a larger than life mythological character who’s inextricably linked with the egg form.

The figure and map egg are overlaid on a design that was influenced from Egyptian iconography. This background symbolizes the unified energy field on which the created world plays out.

A Thousand Tears

 "Anput Dreams There Is No Afterlife" 2015 

                                       

"Maybe death isn't darkness, after all, but so much light wrapping itself around us" - Mary Oliver

"There is no death, only a change of worlds"- Chief Seattle

I have been drawn to the jackal sculptures associated with the Egyptian god Anubis for a long time. Anubis is the Egyptian god of the afterlife, often depicted as guiding individuals across the threshold from the world at their bodily death. Anput is its female version. I had been thinking about making a sculpture of this jackal, but I had no personal context for it. This fabric piece "Anput Dreams There Is No Afterlife" arose from my experience of my mother's illness and death, and it ended up being very much about her life too. The 'Anput' of the title represents an aspect of my mother's higher self, dreaming that the manifest world is all there is.

I took an often reproduced image of the Anubis animal sitting on a funerary tomb and slightly altered it. I stitched tiny tear shapes on it that represent the suffering my mother underwent, a thousand tears of pain, fear, sadness, and anger. On the tomb underneath the figure I stitched small images that I associate with my mother's life. These images, an obvious allusion to the visual language of Hieroglyphics, are simple pictorial representations of objects, plants, animals and people. 

While these depictions have varying degrees of specificity, and many are simple and mundane, none of them are arbitrary. They are more or less read chronologically from left to right, beginning with her early life and ending with her illness and death. A few of the images on the far right also signify transcendence: butterfly, spiral, blossom and heron. The collar around the neck and the cuff on the front leg are stitched with knives that represent anger and resistance. The jackal is chained to the tomb, weighted down to the right by all the things of the world and by the fear of death. In the background I stitched yellow threads of concentric circles that symbolize both the light of eternal consciousness and the passage way to the other side. The border is made of spirals that represent the path leading from materialism and ego to cosmic awareness.

This piece is being shown at ArtXchange Gallery through September 26th, 2015.      www.artxchange.org

  

Trees Are Poems

"Trees Are Poems" 2014

"Trees are poems that earth writes upon the sky" - Kahlil Gibran

A society grows great when old men plant trees whose shade they know they will never sit in.

- Greek Proverb

This piece is hand-stitched on fabric, and is relatively large at 24"x16". It's the first time I used carbon paper to transfer the design directly onto the fabric from the template. I got the main image by combining two photographs from the book "Portraits of the Insane" (subtitled 'The Case of Dr Diamond'). The book contains photographs of asylum patients from mid-nineteenth century Britain. One of the photographs was captioned "Acute Melancholia", and I chose it for both image and subject. The mosaic pattern of the dress is my design.

My original intention was to use only line stitch, but I ended up doing a type of fill stitch in the figure's face and hands and in the Palestinian sunbird that rests on her lap. The figure is surrounded by the outlines of olive leaves and olives, with repeating birdcages as the border. On reflection I like that the leaves and olives are rendered only in outline, making them seem less solid, like ghosts.

The subject of 'Trees Are Poems' is a response to my deep sadness about the desecration of Palestinian olive trees since 1967, both officially by the state of Israel and by its illegal settlers. It is estimated that between 800,000 and 1,000,000 trees have been uprooted, burned, and cut down. Thousands are destroyed each year; in October 2014 hundreds of trees were burned down by illegal settlers near Jerusalem that are believed to be some of the worlds oldest, trees from a lineage that are mentioned in the Old Testament. 

Besides being an integral part of the Palestinian economy, the olive tree is deeply connected to Palestinian culture, heritage and identity. Their destruction is a huge part of the ongoing ethnic cleansing of Palestine and has been compared to the destruction of the buffalo in the genocide of Native Americans. This ongoing devastation is also a tragedy for the entire world: these trees belonged to the planet, a heritage that is lost to of all of us. 

'Trees Are Poems' is not a portrait of any particular person, and I'm not trying to represent a Palestinian woman. I intended the figure to personify an Archetypal Feminine, mourning the loss of nature and the suffering imposed on a whole culture. But of course she also symbolizes an aspect of myself, coming from my own feelings of grief about this indefensible destruction.

Update: On January 1, 2015 Jewish settlers uprooted 5,000 olive tree saplings near Ramallah on Palestinian land. They also broke the roots so they can't be replanted. The saplings had been planted in mid-December in honor of Palestinian official Zaid Abu Ein, who died after being beaten by an Israeli Occupation soldier during a demonstration to support tree planting and against land confiscation.

http://electronicintifada.net/content/heritage-uprooted/7126 

http://www.zaytoun.org/

Animals From The Past

I was looking at Chinese Tang Dynasty horses. This piece was conceived when the US was having "debates" about whether to invade Iraq. I put quotes around debate because the whole thing was so obviously manipulated--the "weapons of mass destruction" or any 911 connection.

The "bomb-blossom" on the horse represented the moment before the deadly decision was made: how the bomb could instead be a blossom of awareness, could of turned into something else.

It's weight is carried by an animal that represents beauty and intuition.

Camel Pull-Toy

See previous posts "Pull-Toys" and "Mosaic with Fabric"

 "Topsy 1903"

Topsy 1903

I unexpectedly saw the footage, by Thomas Edison, of his execution of the elephant Topsy in 1903. It was such a profoundly disturbing and evil act, and I made this piece in homage to Topsy. 

Thomas Edison was attempting to prove the dangers of AC current, and after the elephant had killed three trainers- including one who tried to feed her a lit cigarette- Edison was happy to electrocute her to help prove his point.

I subsequently learned that he also electrocuted dogs and cats as well as cows and horses. How many school children are taught this? We learn about the great inventor and his genius, another hero of American ingenuity. We are told to be proud. 

Suppressing the 'dark side' of Edison is an example of how National Identity itself is mythologized, conveniently omitting what is destructive and abusive. Then it becomes possible to project that dark side onto "the other".

Topsy 1903

Mosaic With Fabric

I made some sculptures using fabric instead of glass as the mosaic surface.  This was very labor intensive, as I hand-cut each small piece of fabric and glued them on, one at a time. The design itself was fairly arbitrary, as I wasn't  looking at any specific motif.  The idea of Aladdin's Dog came after the U.S. invasion of Iraq, and the subsequent pillage of cultural objects. I became interested in the idea that this invaluable cultural legacy could so easily become a sound-bite in American mainstream media. Mesopotamia now reduced to a place where the U.S. could justify "Shock and Awe" with such seeming disregard for it's history (not to mention terrorizing it's people). I think this piece would of been more successful if I'd used a more specific historical Islamic design.