Welcome back to this year’s ongoing Women Pulling at the Threads of Social Discourse interview series, running alongside our gallery exhibition for the next two months. We asked the eighty (yes, eighty) artists participating in the sixth-annual edition of our textile exhibition, We Got the Power, to reflect on the themes present in our main source material (Aristophanes' Lysistrata), as well as their own relationships with the medium.
Our fourth Q&A roundup features artists Atelierlustig, Brenda Kuong, Carlos Bautista Biernnay and Nancy Ofori.
Brenda Kuong. The Freedom of the Acllas, 2024. Textile collage , sandy gesso , mustards , threads , oil , textile acrylic. 12 x 24 inches. Available via Artsy.
Why is fiber your medium of choice?
Atelierlustig: We consider fibers to be other-than-human entities that have been in a relationship of co-creation with humans for millennia, to the point where fibers are inextricably felted into the cultural fabric of human life. This age-old creative act of entanglement, of working in a cooperative unity that tells the story of fiber as much as it tells the story of human advancement, is why fibers are one of our mediums of choice.Brenda Kuong: One of the things that characterize me as an artist is being versatile with materials. I like direct manipulation and discovering new textures; fabrics and threads give me flexibility, movement and textures. Fiberart helps me to be able to capture the energy that I have, my own character is captured in the versatility of the work.
Carlos Bautista Biernnay: The reason I chose fibers as my work is because it connects me with my roots.
Nancy Ofori:I have always been attracted to fibers and textiles. When girls my age were wearing the most recent fashion trends, I would wear embroidered tops or dresses. As an artist, I find fabrics and papers to be flexible mediums full of potential. As I have explored several media, I decided that I could combine painting, sewing, and fibers into all my pieces.
…Art unites worlds, art is the maximum expression of the human being, the most sublime…
- Brenda Kuong
What was your introduction to fiber art?
A: A first approach to fiber art was made during a short but explosive period of creative learning while living in Mexico City. During this period, local emerging artists were not only refining their techniques but also generously sharing them with small groups of budding artists. Under the tutelage of several local contemporary artists and academics such as Amor Muñoz and Matilde Breña, fibers were used to begin exploring creative projects in interactive textiles, embroidery on paper, wet and dry felting, and silk painting. Fiber had thus suddenly entangled itself in this creative practice, marking a distinct departure from a photography-based creative practice to one where fibers were intervening in photographic works.BK: I discovered fiber art through the decoration and creation of utilitarian garments, step by step I discovered textile materials and with my knowledge I created more academic arts, seeking balance and rhythm in each garment until it evolved and began to create works on canvas. turning them into paintings.
CBB: My connection with fibers began in my childhood. I grew up under the dictatorship in those difficult times, I watched my mother sew and embroider, at that moment my passion for fabrics and threads was born.
NO: As a child my grandmother taught me how to embroider (cross stitch). We used to decorate tablecloths and cloth napkins.
Who inspires you?
A: We are currently greatly inspired by artists such as Olafur Eliasson and his ongoing dialogues with light and other entities, Mariko Kusumoto and her fearless use of modified traditional fiber-based techniques, and Nassia Inglessis and her use of materials and sculptural movement as environment in relation to the human body.
BK: I am inspired by the new textile techniques of many countries and cultures, I also learn from great masters from my country and the entire world, studying their work, my inspiration is to capture the history of my culture, especially the culture of Lima, the ancient capital of Peru.
BK: I am inspired by the new textile techniques of many countries and cultures, I also learn from great masters from my country and the entire world, studying their work, my inspiration is to capture the history of my culture, especially the culture of Lima, the ancient capital of Peru.
CBB: My Inspiration begins with my Latin roots, especially my mother and the women who surrounded her.
NO: My children inspire me to do my best. Artists that I admire are John Singer Sargent and Japanese textile artists. Their craftsmanship and attention to detail is something I aspire to master.
The way to achieve this (women effecting change) is to continue the fight in which we all have the same rights regardless of gender.
— Carlos Bautista Biernnay
What was your reaction to this year’s call for submissions? Can you elaborate on why?
A: Our practice uses artist-based research to develop both practical/technical and theoretical aspects of all creative projects. This year's call for submissions, based on Aristophanes’ spicy comedy Lysistrata, was a great fit because it allows us further creative explorations of feminist theory as applied to the use of fibers in art, from the multiplicity of viewpoints which can be interpreted from the play itself. Integrating different aspects of feminist theory in practice with fiber-based interpretations of specific sections of the play in the form of friezes, another way to visually tell stories, has further deepened our creative relationship with fibers as other-than-human entities, and how they are enmeshed in human society.
BK: It was spectacular! I think it is a beautiful, very intelligent initiative: art unites worlds, art is the maximum expression of the human being, the most sublime; and that it can be used to generate awareness and promote changes in our society is incredible.
CBB: I love the idea of being part of this important show where equality and women's rights are celebrated.
NO: I was excited to participate and to have the opportunity to showcase two strong Latina females. I admire Sor Juana Ines de la Cruz for being far ahead of her time and her wisdom. Jovita Idar is another strong female icon. To be able to draw attention to their work is an honor.
Nancy Ofori. Luminous Solidity, 2024. Silk organza, inks, thread, markers, and paper. 12 x 24 inches. Available via Artsy.
BK: It was spectacular! I think it is a beautiful, very intelligent initiative: art unites worlds, art is the maximum expression of the human being, the most sublime; and that it can be used to generate awareness and promote changes in our society is incredible.
CBB: I love the idea of being part of this important show where equality and women's rights are celebrated.
NO: I was excited to participate and to have the opportunity to showcase two strong Latina females. I admire Sor Juana Ines de la Cruz for being far ahead of her time and her wisdom. Jovita Idar is another strong female icon. To be able to draw attention to their work is an honor.
Tell us about your piece for We Got the Power, and what it means to you.
A: SORORITÉ (sisterhood) is a work composed of three fiber-based friezes and a limited edition jewelry pendant/brooch. The frieze components are a visual interpretation of the elements of the chorus of old men and the chorus of women in Aristophanes' comedy. These elements are symbolic both in the comedy and in these works, confronting and interacting with each other on multiple symbolic levels. Aristophanes often did this in his plays, and we have employed this contradictory tongue-in-cheek playfulness as a compositional element in these works as a whole. The chorus of old men confronts the chorus of women, each group demanding different outcomes. Is it however the INTERACTION between both groups itself, that for us represents the feminist principle SORORITÉ. Not one single feminine figure, but a collectivity of women that give strength and direction. Not two groups on their own, but an interaction of groups as a collectivity that speaks to a bonded action of solidarity. The resulting unity gives further meaning to the word itself, to the materials themselves - The piece as a whole, friezes and pendant/brooch are a representation of power as a state of active being.
BK: "The freedom of the Acllas is a piece created especially for "The Camp Gallery", excited I proposed the idea of being able to make the history and culture of my city known to the world with you. "The freedom of the Acllas" tells how the Priestesses consecrated to the Inca ask (in an imaginary world) for their freedom and the claim of their rights of equality, leaving the Inca unstable.
BK: "The freedom of the Acllas is a piece created especially for "The Camp Gallery", excited I proposed the idea of being able to make the history and culture of my city known to the world with you. "The freedom of the Acllas" tells how the Priestesses consecrated to the Inca ask (in an imaginary world) for their freedom and the claim of their rights of equality, leaving the Inca unstable.
The technique used is a mixed textile collage: ethnic and diverse fabric, textile decoration such as: beads and fantasy stones and special putties.
CBB: The name of my piece is "O my god I feeling myself”. The technique I use is embroidery on fabric. What this piece represents is feeling. The empathy that human beings should feel.
NO: As an artist I am drawn to female figures, particularly those that have overcome and faced obstacles. The two females portrayed in my piece exemplify those characteristics in a time when it was extremely difficult to be a strong, outspoken female.
CBB: The name of my piece is "O my god I feeling myself”. The technique I use is embroidery on fabric. What this piece represents is feeling. The empathy that human beings should feel.
NO: As an artist I am drawn to female figures, particularly those that have overcome and faced obstacles. The two females portrayed in my piece exemplify those characteristics in a time when it was extremely difficult to be a strong, outspoken female.
Women had to effect change in the shadows and in ways that men and some women didn't find threatening to their way of life.
— Nancy Ofori
What does your piece respond to, both in the context of the play and in society?
A: SORORITÉ further deepens our Studio Mantra: We can only be (exist), not because we relate to others (humans), but because we relate to Others (multi-entity). In both the comedy and in society, this piece as a whole responds to the confrontation/interaction between the two choruses that results in multi-level outcomes and deeper, situated knowing. Everything/Everyone is connected, and giving voice and recognition of these connections disrupts and further decolonializes thought.
BK: It is an imaginary of vindication, I imagine what it would have been like if these women could enjoy freedom, which many of us already have in our places of origin; I imagine how their society would have changed in 1400 in Lima - Peru, it is a work where I honor and commemorate the memory of how unjust it was to deprive these women of their rights. For today I would like the viewer to be able to value what has already been achieved with women's rights, to take care of them and to value the richness of our femininity.
CBB: My piece is inspired by the inner feeling of self-acceptance and understanding what is happening around us.
NO: My hope is that my piece reminds females, particularly Latina females that they have role models. Females who have paved the way for them to make a difference in their world. Females who they might not know but who played a part in creating the world we live in today. As an artist, my piece is a representation of how these females strengthen me to continue to push and try new techniques. To push the boundaries of the materials and my skills as an artist.
BK: It is an imaginary of vindication, I imagine what it would have been like if these women could enjoy freedom, which many of us already have in our places of origin; I imagine how their society would have changed in 1400 in Lima - Peru, it is a work where I honor and commemorate the memory of how unjust it was to deprive these women of their rights. For today I would like the viewer to be able to value what has already been achieved with women's rights, to take care of them and to value the richness of our femininity.
CBB: My piece is inspired by the inner feeling of self-acceptance and understanding what is happening around us.
NO: My hope is that my piece reminds females, particularly Latina females that they have role models. Females who have paved the way for them to make a difference in their world. Females who they might not know but who played a part in creating the world we live in today. As an artist, my piece is a representation of how these females strengthen me to continue to push and try new techniques. To push the boundaries of the materials and my skills as an artist.
Atelierlustig. (PEUT-ÊTRE) SORORITÉ, 2024. Felt, silk, mirror, 22k gold, linen. 12 x 24 inches. Available via Artsy.
How do you hope viewers will respond to your piece?
BK: I wait for the surprise!, the joy! and the charm! , to bring the wealth and knowledge of my culture, hoping they can learn more from it and above all value what has already been achieved today with respect and the evolution of our rights.
NO: I hope to provoke wonder, curiosity, and empowerment. I hope viewers wonder how the piece was created. I want viewers to want to know more about the poem in the piece and its author. I want people to learn more about the female in the piece, and be inspired.
A: We intend these works to generate curiosity, and bring up questions, conversations, and dialogues on as many levels as possible. From our materials to our processes to the multiple symbolisms contained in them, we invite viewers to interact with these works and generate new meanings as the interactions unfold. We want them to begin to imagine the possibilities of this word and these materials not only as fibers and a concept of feminism, but to allow themselves to explore, to take that further, and imagine them as entities that exist in a decentralized inclusive world, and the possibilities of what that can signify.
CBB: With my work I try to create a bridge of communication between the piece and the viewer.
NO: I hope to provoke wonder, curiosity, and empowerment. I hope viewers wonder how the piece was created. I want viewers to want to know more about the poem in the piece and its author. I want people to learn more about the female in the piece, and be inspired.
A: We intend these works to generate curiosity, and bring up questions, conversations, and dialogues on as many levels as possible. From our materials to our processes to the multiple symbolisms contained in them, we invite viewers to interact with these works and generate new meanings as the interactions unfold. We want them to begin to imagine the possibilities of this word and these materials not only as fibers and a concept of feminism, but to allow themselves to explore, to take that further, and imagine them as entities that exist in a decentralized inclusive world, and the possibilities of what that can signify.
CBB: With my work I try to create a bridge of communication between the piece and the viewer.
Everything/Everyone is connected, and giving voice and recognition of these connections disrupts and further decolonializes thought.
- Atelierlustig
Do you believe that women do have the power to effect change? How?
A: We strongly believe women have the power to effect social change just as much as Others (multi-entity) can. We believe that social change must be inclusive, and therefore that women have the power to effect (social) change when inclusive relationships have been developed and nurtured. By inclusive relationships we mean not just men and other human genders, but also other-than-human and more-than-human entities. And this is truly what we are driving at when it became apparent that this piece must be named SORORITÉ.BK: Women can generate change, with our ancestral wisdom, we can generate change with our love and above all with the cultivation of ourselves in education; I believe that the most important thing a woman can do in these times is to cultivate and educate herself in order to be able to support her rebellions, her struggle and her proposals for change in favor of the new generations.
CBB: I was absolutely raised by four women and learned the courage and strength they had in difficult times. The way to achieve this is to continue the fight in which we all have the same rights regardless of gender.
NO: Women have always had the power to effect change. We just have not always been recognized or given credit for the changes we make. Women had to effect change in the shadows and in ways that men and some women didn't find threatening to their way of life. Women now have the opportunity to change the world by uniting with their sisters and recognizing the wins. Regardless if the changes are glamorous or not. Women need to celebrate the stay-at-home mom, the teacher, the professional, the artist, the humanitarian, and the list goes on. We need to stop focusing on what is different and focus on how we are similar.