Continuing, and drawing close to the end, of this year’s Women Pulling at the Threads of Social Discourse interview series, running alongside our gallery exhibition for the next month. 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 eleventh Q&A roundup features CAMP artists Orly Cogan and Laetitia Adam-Rabel, joined by artists Katika and Kimberly Bentley.
Why is fiber your medium of choice?
Orly Cogan: I majored in painting in art school but as my work evolved I moved into the idea of my materials and concepts blending together hand in hand and informing one another. I love the varied thickness of drawing with thread and using materials that come with their own history. There's a kind of intimacy involved when working with soft materials slowly on my lap, stitch after stitch, a true labor of love. I started focusing on using fiber based materials particularly hand stitching back in the nineties before it gained its acceptance and popularity in today's contemporary art world. I like working with needle and thread once given to women from more modest eras to keep their idle hands busy as a means to create work that addresses feminist contemporary issues, fairytales, intimacy and thought provoking visual storytelling.
Laetitia Adam-Rabel: Fiber is one of my go-to media because it is so soft and comforting at its core. So it makes it easier to express hard, abrasive issues without scaring people, at first glance.
Katika: Fiber feels like the most natural language for me. It’s a medium that I’ve personally developed and refined, allowing me to express my thoughts and emotions more clearly than any other form of art. The tactile nature of fiber art enables me to communicate my ideas in a way that feels most authentic.
Kimberly Bentley: I use fiber because it is a material that was relegated to women. Artwork that used “soft materials” was not regarded as fine art until feminists started using them in the 1970’s. I draw on the tradition of craft as a medium for social activism to highlight issues that impact women.
Laetitia Adam-Rabel: Fiber is one of my go-to media because it is so soft and comforting at its core. So it makes it easier to express hard, abrasive issues without scaring people, at first glance.
Katika: Fiber feels like the most natural language for me. It’s a medium that I’ve personally developed and refined, allowing me to express my thoughts and emotions more clearly than any other form of art. The tactile nature of fiber art enables me to communicate my ideas in a way that feels most authentic.
Kimberly Bentley: I use fiber because it is a material that was relegated to women. Artwork that used “soft materials” was not regarded as fine art until feminists started using them in the 1970’s. I draw on the tradition of craft as a medium for social activism to highlight issues that impact women.
“ My piece is a statement of Feminism, it depicts women taking control and taking charge of political decisions, a nod to the central theme of Lysistrata.”
— Orly Cogan
What was your introduction to fiber art?
OC: Fiber based materials have always been in my life. My grandmother and mother collected old quilts and hand made antique embroidered samplers that were displayed in my home growing up. I went to a Rudolf Steiner Waldorf School where using natural materials and working with your hands is taught from a very early age. In grade school I learned to knit, crochet and hand stitch, later needle felting, paper making and so on. Working with various art and traditional craft based materials has always felt natural to me.
LAR: I have a background in Fashion Design, and I grew up around grandparents who were a professional tailor and seamstress. I eventually gravitated towards fiber arts in a convoluted way. I had been experimenting with textiles as an art medium since 2015, but it wasn’t until the beginning of the pandemic in 2020, that I made my first textile piece that was shown in a recognized exhibition, with the call for artists for Women Pulling at the Threads of Social Discourse, through my association with FAMA (Fiber Artists Miami Association).
K: I would say my mother and grandmother were instrumental in sparking my journey into fiber art. They both had a deep connection to crafting, and their influence gave me a foundation that naturally evolved into my own artistic practice.
KB: When I went to graduate school, I studied the work of feminist artists from “Women House”, because one of my advisors was an exhibiting artist in that 1970s pivotal art show. I started to understand why women were marginalized. I found my voice with fiber art .
Who inspires you?
OC: I would say it's more of a what inspires me more than a who. I like listening to books, podcasts and national public radio while I work. I get inspired by what's happening in the world around me by going to look at art, bookstores, the theater, and generally living in a vibrant bustling city.LAR: I am very inspired by Faith Ringgold’s work. But I draw a lot of my inspiration from my inner affinity for the medium.
K: I don’t really believe in the concept of inspiration in the traditional sense. I think it’s more about making a conscious decision to create, and over time, that process becomes an integral part of you—whether you feel inspired or not. It’s about committing to the work, not waiting for inspiration to strike.
KB: I would start with Julia Kristeva , who is known for her critical theory on feminism. Visual artists, Faith Ringgold, Mary Kelly, Judy Chicago, Frida Kahlo, and Kimi Smith (to name a few).
“…as a mother, I feel I have the future generation under my wing and that is an enormous opportunity to make change.”
—Laetitia Adam-Rabel
What was your reaction to this year’s call for submissions? Can you elaborate on why?
OC: I think the gist of the concept as it was described to me is women lifting up women and together overcoming adversity. I thought right away of creating a piece that depicts females of varying ages and sizes and ethnicities all coming together at a political rally. This topic is especially poignant now as a woman is running for president of the United States.
LAR: I almost did not submit to this year’s call. I was and am still going through a lot of personal turmoil. I had a vague idea of what I would submit if I were to enter, but I was not at all inspired by the way the presidential campaign was going at the time. I didn’t feel like I had the power. Then, the race changed completely, with the incumbent president pulling out of the race and I felt more hopeful. That pivotal moment and a turn of events in my own personal life, encouraged me to submit to the call.
K: I was genuinely excited when I saw the theme for this year’s project. It resonates deeply with the core themes of my practice, and it felt like a natural fit for the ideas I’ve been exploring. It was an opportunity I couldn’t pass up.
KB: As soon as I saw the title, I knew that I had to apply. Not many places in the northeast, if any, want to see work on feminism. I knew I would have to find a home somewhere outside of my area that would be receptive to the themes of my work. I tried to have a show that I organized with nine other women, in Portland, Maine a year ago. It ended up getting vandalized and we took it down a week later. So, I was very excited to see this opportunity.
Tell us about your piece for We Got the Power, and what it means to you.
OC: This artwork depicts women across the spectrum of life's stages, ages, faiths, races and nationalities all coming together in a rally-type setting working in unison towards a greater good. Together we stand stronger and must speak up for our rights for now and for the future. This piece's crochet perimeter has history itself as it was originally created by an unknown woman from a more modest time period, something for the home as a centerpiece on the table. I honor her labors while adding into it almost as a collaboration with years between and changing its original purpose to now hang proudly on a gallery wall. Similarly to the concepts of the political statement the figures are displaying at a particularly important moment in time where women's rights are being challenged once again.
LAR: This upcoming election is all about freedom. I came face-to-face with the likelihood of losing all my rights, through no fault of my own. In that time, I realized that we take so many of our freedoms and rights for granted, until we are at risk of losing them. It was then that it became clear to me the meaning of my proposed piece. Even if our wings are clipped, we can still use our voices to effect change. Part of my power is my art. It is the tool I use to influence my audience. This is what this particular piece means to me. It’s a celebration of freedom.
K: At its core, the masturbating woman in my work symbolizes a fearless, independent warrior, unburdened by societal taboos, and focused on peace and creation. Another part of the piece depicts three women, which serves as a metaphor for the solidarity women find in their shared tenderness and unity.
KB: Since the election of 2016, I have felt powerless as we watched women’s rights get taken away again. I never thought we would go back. Women bleeding out in parking lots because having a miscarriage was considered an abortion, is mind blowing. As an artist and an educator, I feel like the best tool that I have to fight this with is my artwork. To use our voice and fight against the violence towards women. My piece talks about uniting women and fighting against this system. Ruth Bader Ginsburg flies above us, rallying us to unite. Women stand in solidarity underneath her. The “screaming head” was something that started appearing in my work after seeing so many women in complete despair at the nomination and confirmation of Kavanaugh to the Supreme Court.
LAR: This upcoming election is all about freedom. I came face-to-face with the likelihood of losing all my rights, through no fault of my own. In that time, I realized that we take so many of our freedoms and rights for granted, until we are at risk of losing them. It was then that it became clear to me the meaning of my proposed piece. Even if our wings are clipped, we can still use our voices to effect change. Part of my power is my art. It is the tool I use to influence my audience. This is what this particular piece means to me. It’s a celebration of freedom.
K: At its core, the masturbating woman in my work symbolizes a fearless, independent warrior, unburdened by societal taboos, and focused on peace and creation. Another part of the piece depicts three women, which serves as a metaphor for the solidarity women find in their shared tenderness and unity.
KB: Since the election of 2016, I have felt powerless as we watched women’s rights get taken away again. I never thought we would go back. Women bleeding out in parking lots because having a miscarriage was considered an abortion, is mind blowing. As an artist and an educator, I feel like the best tool that I have to fight this with is my artwork. To use our voice and fight against the violence towards women. My piece talks about uniting women and fighting against this system. Ruth Bader Ginsburg flies above us, rallying us to unite. Women stand in solidarity underneath her. The “screaming head” was something that started appearing in my work after seeing so many women in complete despair at the nomination and confirmation of Kavanaugh to the Supreme Court.
“The world has long needed more women in positions of influence because the current patriarchal structure has led to a lot of imbalance and madness.”
— Katika
What does your piece respond to, both in the context of the play and in society?
OC: The choice of the medium is a political act in and of itself, crafting by hand in our fast-paced technological world. My piece is a statement of Feminism, it depicts women taking control and taking charge of political decisions, a nod to the central theme of Lysistrata.
LAR: My piece responds to the power of women, not just law-makers, but the everyday woman. This innate power is the reason why I depicted myself in this piece. Not just because I am a self-portrait artist, but also because in this particular instance, I am talking about the power we all have, including myself.
K: My work delves into themes of female independence and empowerment, portraying women who embrace their autonomy and inner strength. There’s a connection to the concept of Lysistrata, where women assert their power through abstinence. I choose to work with manual techniques, drawing inspiration from ancient pottery. The bold black outlines and earthy orange hues in my piece echo those ancient styles and tie into my current exploration of pixelation and traditional motifs.
KB: My piece responds to the women who fight back and demand change in the play, In today’s society, it’s called the 4B Movement. Women are not property. We are not here to just birth children. We have something to say and we are important.
LAR: My piece responds to the power of women, not just law-makers, but the everyday woman. This innate power is the reason why I depicted myself in this piece. Not just because I am a self-portrait artist, but also because in this particular instance, I am talking about the power we all have, including myself.
K: My work delves into themes of female independence and empowerment, portraying women who embrace their autonomy and inner strength. There’s a connection to the concept of Lysistrata, where women assert their power through abstinence. I choose to work with manual techniques, drawing inspiration from ancient pottery. The bold black outlines and earthy orange hues in my piece echo those ancient styles and tie into my current exploration of pixelation and traditional motifs.
KB: My piece responds to the women who fight back and demand change in the play, In today’s society, it’s called the 4B Movement. Women are not property. We are not here to just birth children. We have something to say and we are important.
Kimberly Bentley. Women Unite, 2024. Wool strips, beads, laca, monks cloth, wood. 12 x 24 inches. Available via Artsy.
How do you hope viewers will respond to your piece?
OC: I hope it will inspire and give the feeling of unity to achieve a greater good. I hope the viewer will take the time to look carefully at my threaded line work and the details I've put into creating this piece. I think it will look wonderful framed!
LAR: I hope viewers will feel the joy and celebration I am aiming at evoking in this work.
K: I hope that at first, viewers might be a bit surprised and perhaps even confused. But after spending some time with the piece, I believe they will start to understand my message, and ideally, they’ll leave feeling both enchanted and amused by what they’ve experienced.
KB: I hope that they will see it as a uniting piece. I want to have hope that change is coming.
LAR: I hope viewers will feel the joy and celebration I am aiming at evoking in this work.
K: I hope that at first, viewers might be a bit surprised and perhaps even confused. But after spending some time with the piece, I believe they will start to understand my message, and ideally, they’ll leave feeling both enchanted and amused by what they’ve experienced.
KB: I hope that they will see it as a uniting piece. I want to have hope that change is coming.
“As an artist and an educator, I feel like the best tool that I have to fight this with is my artwork. To use our voice and fight against the violence towards women.”
- Kimberly Bentley
Do you believe that women do have the power to effect change? How?
OC: Yes! Women can effect change like any organized group by banning together and speaking out in defense of their inalienable rights.
LAR: I absolutely believe that women have the power to effect change not just in our own agency, but as a mother, I feel I have the future generation under my wing and that is an enormous opportunity to make change.
K: I don’t just believe it—I know it. The world has long needed more women in positions of influence because the current patriarchal structure has led to a lot of imbalance and madness. Women possess the strength and perspective necessary to drive real, meaningful change, and it’s time the world acknowledges that.
KB: Of course we do. And I think as the play illustrates, we have to unite and come together for that change.
