Our third Q&A roundup features CAMP artists Karola Pezarro and Alina Rodriguez Rojo, who are joined by artists Rima Day and Eileen Hoffman.
Why is fiber your medium of choice?
Karola Pezarro: My work is based on a strong sense of wonder about the fragility of life, about the passage of time, about memory and the complexity of human thought. Through my art, I ask questions about what we carry with us, both visible and invisible, how our thoughts fan out, how we relate to the inner and outer world, how we try to exist. I explore these themes through embroidery, sculptures and videos. Especially a thread or a lot of threads or an embroidery has that fragility and those special and fragile qualities that I look for to represent my story.
Alina Rodriguez Rojo: Fibers enable me to express stories, emotions, and dreams in ways that no other medium can. Through their texture, movement, and versatility, I find a language that feels uniquely suited to the narratives I want to share.
Rima Day: I am very familiar with the materials and tools of fiber art since I studied fashion design and worked as a costumer. When I decided to make artwork instead of costumes, I didn’t even question using a different medium. Ever since I made a little coin holder when I was 4 years old, I’ve been attracted to the idea of using 2-dimensional material to make something 3-dimensional.
Eileen Hoffman: My deep connection to fiber is rooted in my early experiences with it and has guided my formal training. My brain is trained to think in fiber — I see the world through its patterns, textures, and constructions. I am interested in the connection between textile processes, the relationship with materials, and the invisible labor of women that these crafts often evoke. This early bond with the material makes it an instinctive medium, and I visualize my pieces through the techniques I’ve developed over time.
The Thong of Peace transforms the modern female thong into a banner of personal freedom and resistance against repression
Alina Rodriguez Rojo
What was your introduction to fiber art?
KP: I was originally trained as an interior and environmental designer. During my final year of interior design, I fell in love with working with textile materials because of their special character and their unique language. One of my teachers encouraged me to do extensive research and experimentation. I decided to make this research on textiles a part of my final project.
ARR: My connection to fabric stems back to my childhood but it was cemented when I co-founded Fiber Artists Miami Association. Textiles have always been at the foundation of my artistic journey.
RD: Fashion. I was familiar with fiber crafts because my mother, aunts, and grandmother all worked on something. But my real fascination came from fashion design, especially high fashion. These crafts are not for everyday use but are creative and technically challenging.
EH: As a young person, I was always drawn to crafts and creating things. A friend of my mother taught me how to knit, and I instantly loved it. I taught myself to read patterns and began making sweaters. Soon after, I learned to crochet and embroider, and I always had a project in my hands. I later went on to study weaving, textile design and sculpture.
Karola Pezarro. Sisters, 2024. Thread and felt. 12 x 24 inches. Available via Artsy.
Who inspires you?
KP: So at first my inspiration came from the material itself. At one point, I made a piece I would later call "Transparent Memories”. Small transparent sheets suspended in a fragile structure worked for me as a metaphor for the memories we carry with us. From this awareness, the main source of my work has slowly become life itself, my surroundings and my reflection on them.
ARR: Ruth Asawa.
RD: Many people inspire me…. It changes all the time, but it tends to be women who are/were living in a country where they were not born and raised—like me.
EH: I found early inspiration in artists like Eva Hesse and Martha Graham—women who were deeply committed to their vision, had powerful messages to convey, and used their art as a means of expression. Their dedication captivated me and shaped my understanding of what women artists could achieve, and how we can use our work to influence change. Similarly, Ruth Bader Ginsburg, another remarkable woman, entered my life when I was young, as she was a colleague of my mother’s.
I fell in love with working with textile materials because of their special character and their unique language
Karola Pezarro
What was your reaction to this year’s call for submissions? Can you elaborate on why?
KP: My first thoughts were with my group of girlfriends to design from that.
ARR: I think it was a great choice and it inspired me.
RD: I thought it was interesting to read a play and make artwork, especially a Greek play. I did this a lot when I worked for a theater to design costumes, but I never made artwork based on a play. It was very different to take in a whole play rather than focusing on each character. I’ve been interested in learning more about Greek history, so I thought it was a great chance to read a Greek comedy, too.
EH: When I saw this year’s call for submissions, I was excited to participate, as it directly resonated with the themes I’ve been exploring and felt compelled to contribute. My work focuses on bringing visibility to the often unseen aspects of women’s lives. Recently, my pieces have been a response to the 2022 reversal of Roe v. Wade.
Rima Day. Water and Fire, 2024. Silk organza, cotton, cotton fabric, thread. 12 x 24 inches. Available via Artsy.
Tell us about your piece for We Got the Power, and what it means to you.
KP: The piece is inspired by the idea of the power of connection and the importance of relationships. It is loosely based on the group of eight women I have been a part of for many years. A group where connection, attention, thinking and growing together are central. We share sorrows, visions, histories, etcetera.
ARR: The Thong of Peace transforms the modern female thong into a banner of personal freedom and resistance against repression. It is a provocative peace that engages deeply with the ongoing struggle for reproductive rights and the upcoming election of 2024. Florida Amendment 4, Right to Abortion Initiative 2024.
This past September 1 members of the Fiber Artists Miami Association gathered for a day of activism and learning about Amendment 4 as part of the Thong of Peace. A group of artists created thongs using various textile techniques. The gathering was led by artists Shelly Mc Coy, Evelyn Politzer, and myself.
RD: I immediately decided to depict the opposing forces of men and women in abstract ways. Ever since I started working with hand stitching techniques, I haven’t made anything representational except for the bases I use/ make, which are books, gloves, corsets, and so on. So, it was a challenge for me to stay within the measurement without making something 3-dimensional with a more expanded pallet so I could present opposing choruses.
EH: The piece, The Chorus of Old Women, speaks directly to women’s power to make choices and have autonomy over their bodies. Created in response to the 2022 reversal of Roe v. Wade, an assault on women's rights, it draws parallels to Lysistrata, where women united to end a war by using their bodies—demonstrating their power and agency through withholding sex. Both in the ancient play and in today's context, women continue to fight for their rights, underscoring the timelessness and resilience of our struggle.
Many women in history have made changes. Some did this by supporting their male counterparts, and some did by doing what they believed in
Rima Day
What does your piece respond to, both in the context of the play and in society?
KP: My design has its origins close to home, but my hope is that it also speaks to universal values, the importance of sisterhood.
For me, the piece is also very much about the hope that "gentle strength" (female power) and a focus on doing good can prevail in this world.
ARR: The Thong of Peace, a collaboration between artists Shelly McCoy, and Alina Rojo provocatively engages with the ongoing struggle for reproductive rights, echoing the bold commentary of Aristophanes' play. [We] invited other creators to participate in uniting voices, and as a call for women to spread the word about Amendment 4.
RD: It shows two opposing forces. It is based on the scene where women pour water over men’s fire. It is probably similar to our society right now, which has so many opposing views regarding many issues. I think water symbolizes a calmer and more conscious mind, while fire represents a demanding, dominating personality. I hope we can use more of a water approach rather than fire for whatever problem we work on.
EH: The Chorus of Old Women is a piece that merges the play Lysistrata with themes of women's rights, a recurring focus in my work. The text used to create the work interweaves quotes from Lysistrata with statements from Ruth Bader Ginsburg on abortion, creating a dialogue between historical and contemporary voices advocating for women's rights.
Eileen Hoffman. The Chorus of Old Women, 2024. Dura-lar, acrylic paint, chenille stems, ink. 12 x 24 inches. Available via Artsy.
How do you hope viewers will respond to your piece?
KP: I hope that they will find something of their own to think about in it.
ARR: I hope viewers make the connection between the delicate fabric of the thong and the contrast of the robust message: a woman's right to choose, express, and live freely. By elevating a garment to a symbol of resistance, "The Thong of Peace" invites viewers to confront the pressing issues of our time, encouraging dialogue and action in the fight for reproductive freedom.
RD: It is different from my normal work with blue threads and techniques that I don’t use that often. I hope people familiar with my work still find it looks like mine.
EH: I want viewers to reflect on the importance of women having control over their own bodies. I hope my work sparks conversations about their personal connection to this issue and inspires them to engage with others, encouraging thoughtful dialogue on this critical topic.
Both in the ancient play and in today's context, women continue to fight for their rights, underscoring the timelesness and resilience of our struggle.
Eileen Hoffman
Do you believe that women do have the power to effect change? How?
KP: I cannot give answers, only make things visible, show other angles and ask questions.
ARR: We all do if we unite.
RD: Yes. Many women in history have made changes. Some did this by supporting their male counterparts, and some did by doing what they believed in. “How” could depend on personality and circumstance, but I think it is essential to be able to evaluate one’s capability and how it would work in society.
EH: Women absolutely have the power to effect change. They already have. And will continue.
