A Whisper to a Scream

After a somewhat rough start to the year (Norovirus, then a car accident, then an earthquake and aftershocks), I’ve settled into a diligent routine in the studio. So far, I don’t feel like I have much worth saving or showing, but I’ve been honing old skills and learning new ones. I suspect the first half of this year is going to be all about process.

While I’m finessing patterns and stitches, I spend much time ruminating on the wonder of knitting a garment and how it truly IS the O.G. of 3D printing: the yarn is a line used to create something sculptural and dimensional. 

It’s cool to think that this technology has been around since the 11th or 12th century.  Somehow, over time, the skill became largely the domain of women and domesticity. Despite fiber arts having a real resurgence in the art world over the past two decades, the term “knitting” still conjures up images of women-of-a-certain-age making shawls and hats to sell at church bazaars (no shade to shawls, hats, church bazaars, or women-of-certain-ages – I like all those things).

Personally, I think the medium is magic; there’s something deliciously witch-y about using two sticks and a length of yarn to produce endless shapes, sizes, and textures. 

Right now, I’m fumbling with technique, but as I knit/tink/knit I’m considering how clothing – both its raw materials and making processes – has a long history tied to politics and revolution. I’m also contemplating how knitting in the round on circular needles is its own series of many literal revolutions. 

Stitch by stitch I meditate on how the wee sweaters I’m making are linked to doll’s clothing, which leads me to consider the history of dolls as a tool to teach children – girls in particular – the role of being a mother and housewife. Row after row, I ruminate on how, in the last 60 years, modern dolls have been used as models for youngsters – again, girls in particular – to role play various vocations outside the home.

As I work on undoing a complicated stitch pattern that I’ve screwed up, or struggling to pick up a stitch I somehow dropped 3 rounds ago, my subconscious is busy shuffling the puzzle pieces, making sense of all the loose threads and weaving together the context of this new series.

Those who’ve followed my practice for a while know that my work is very much tied to topical events, often political in nature. More common in the news lately are stories of artists’ shows being shuttered and canceled because their work is critical of government-sanctioned actions. Most recently, artist Victor “Marka27” Quiñonez’s body of work, Ni de Aquí, Ni de Allá, at the University of North Texas came under fire due to his critical commentary on violence perpetrated by Immigration and Customs Enforcement. This censorship and silencing is truly disturbing.

As my purpose with this series becomes clearer, I’m inspired to create the most girlish, precious, little “degenerate art” you ever did see. Think American Girl Doll, Lil’ Revolutionary Edition. In the coming months I’ll be starting to lean heavily into text, rather than texture. And, oh yeah, it’s gonna get critical.

Vive la révolution.