We are nearing the end of this year’s Women Pulling at the Threads of Social Discourse interview series, which is running alongside our gallery exhibition until December 20th. 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 Fifteenth Q&A roundup features CAMP artist Molly Gambardella, alongside artists Elaine Luther, Autumn Kioti Horne, and Nanilee Robarge.
Why is fiber your medium of choice?
Molly Gambardella: Fiber is my medium of choice for "Convergence of Contrasts" because it embodies a unique blend of tactility, tradition, and versatility that resonates deeply with the themes I explore in my work. The use of fiber allows me to weave together narratives and concepts in a way that is both literal and metaphorical, creating work that has the potential to engage the viewer on multiple levels.
Fiber as a medium offers a rich, multidimensional canvas for exploration and expression. Its tactile qualities, historical depth, versatility, and symbolic potential made it the ideal medium for my piece, "Convergence of Contrasts", enabling me to create work that is not only visually compelling but also deeply meaningful.
Elaine Luther: I work with found handwork by other women - because of its beauty, because of the impulse to rescue the unloved doily, or to finish the abandoned quilt blocks - and also because this under appreciated women's work is a visual stand in for all labor and care work by women. Domestic labor, care work, shadow work, these are my major themes.
Quilts have resonance as a cultural form. I often work with a thing people recognize - the form of a medal, or a shrine, or a quilt, but then I transform it, by adding metal leaf to a plastic saint figure or turning a quilt into a protest banner. My goal is communication with the viewer, and showing people a new idea, something they may not have seen or thought about in this way. Using the familiar gives me a way in with the viewer. And what's more familiar than textiles? We wear them, we sleep between them, we dine with them.
Autumn Kioti Horne: I am a scavenger by nature and fiber isn't my only medium of choice, however, as of 2023, the fashion industry produced a startling 97 million tons of waste, of which 18 million was leftover textiles, so I feel like the repurposing of textile waste is a meaningful choice in itself. And the idea that sewing, weaving, knitting, is not fine art, but craft (I don't use this term to denigrate craft, but to indicate a perception), and traditionally "women's work" at that...originally it was kind of...giving the finger to the purveyors of fine art, to the established "great chain of being" within the art world. And then, using scraps and having to piece together the puzzle of what works and how appeals to me. Hah, I say that now. When it's not working, I curse it all!
Nanilee Robarge: I enjoy handling the materials and working within the constraints imposed by each practice.
“ I am deeply inspired by individuals who break down the barriers of perceived differences to find and inspire unity. ”
— Molly Gambardella
What was your introduction to fiber art?
MG: My introduction to fiber art was deeply personal and familial, rooted in the loving teachings of both my grandmothers—my Mormor and Grandma Philomena. Each of them, in their own unique way, introduced me to the world of textiles and fibers, weaving a tapestry of memories and skills that would eventually shape my artistic journey.
EL: If we don't count the felt bookmark with glued-on sequins that I made in school in 3rd grade (and those were pretty cool), then it would be my mom sewing a dress for me one Christmas. And I learned to sew on the machine at age 8.
AKH: My grandmother was a seamstress. I always found it fascinating. My mother sews as well, and sewed all of my costumes (I was obsessed with dressing like a proper animal...I kind of still am) and much of my clothing, but no one ever really taught me, I just started playing around with leftovers. This probably means I don't do anything "right", but, hey, you're not doing it wrong if nobody knows what you're doing.
NR: My introduction to fiber art began with training in knitting, crochet and sewing as a young girl. As my skills developed, I was able to add imagination and my voice to my work. My practice was strongly encouraged all throughout my schooling as well.
Who inspires you?
MG: I am deeply inspired by individuals who break down the barriers of perceived differences to find and inspire unity. These are the artists, activists, leaders, and everyday people who see beyond the divisions that often fragment our society and work tirelessly to weave together the disparate threads of the human experience into a tapestry of collective understanding and shared purpose.
Artists like Faith Ringgold, who uses her quilts to narrate stories, blending personal and historical narratives to highlight issues of race, gender, and class, inspire me. Her ability to transform a traditional craft into a powerful medium for social commentary and change exemplifies the kind of barrier-breaking creativity that I admire.
Activists such as Malala Yousafzai, who champions education for girls worldwide against formidable odds, also inspire me. Her courage and determination to fight for the rights of girls and women in the face of threats and violence is a testament to the power of unity and collective action. Malala's work transcends cultural, religious, and national divides, uniting people around the common cause of education and equality.
Leaders like Nelson Mandela, whose commitment to reconciliation in post-apartheid South Africa, showed the world the strength and potential for unity after decades of division and conflict. His legacy inspires me to believe in the possibility of healing and coming together, even in situations that seem insurmountably divided.
In the realm of everyday life, I am inspired by the countless unsung heroes who work within their communities to bridge gaps and build understanding among diverse groups. These are the community organizers, teachers, and local leaders who, day in and day out, engage in the slow, often unnoticed work of fostering connections, understanding, and empathy among people of different backgrounds, beliefs, and experiences.
The common thread among all these sources of inspiration is the belief in the transformative power of unity and the conviction that, despite our differences, we share a common humanity that binds us together. Their lives and work inspire me to use my art as a means of exploring and celebrating this interconnectedness, and to contribute, in my own way, to the ongoing effort to build a more inclusive, compassionate, and united world.
EL: My mom, whose photo is in one of these pieces, and who has always been a fierce feminist, still is, and continues to go to marches and has raised some awesome feminist children. And she can cook anything, sew anything, grow and build anything, she's amazing.
AKH: This is a HUGE question. But I would say...and maybe this sounds funny...activists, wildlife biologists, environmental educators, scientists. And just...nature.
NR: Those who work with a curious and open mind, who continue to grow, experiment, develop and delight in their work. Favorite artists include David Hockney, Chuck Close, Louise Bourgeois. I am currently working on developing my tapestry techniques with information and inspiration from Susan Iverson and Rebecca Mezoff.
“ We need to unite and fight, to save women's rights, regain what we've lost, gain more, plus you know, save the planet."
— Elaine Luther
What was your reaction to this year’s call for submissions? Can you elaborate on why?
MG: My reaction to this year’s call for submissions was one of immediate resonance and inspiration. The theme, "We Got The Power," struck a deep chord within me, as it encapsulated a message of unity, strength, and the transformative potential of collective action. In today’s world, where divisions seem more pronounced than ever, the call felt like a beacon of hope and a timely reminder of the power inherent in coming together for a common cause.
This theme's relevance and urgency are what drew me in. The opportunity to explore and respond to such a powerful concept through my art was not only appealing but felt almost necessary. It presented a chance to delve into the dynamics of unity versus division, of harmony in contrast, and to contribute to a conversation that transcends the boundaries of the art world. The call for submissions was an invitation to engage with contemporary issues through the lens of creativity and to be part of a collective artistic endeavor aimed at making a meaningful impact.
Moreover, the theme’s broad scope allowed for a rich exploration of ideas, particularly the interplay between the masculine and feminine, as well as the political and ideological spectrums that shape our society. It challenged me to think deeply about how these elements converge within my own work, pushing me to create something that not only responds to the call but also pushes the boundaries of my artistic practice. The idea of contributing to a larger dialogue through my piece, "Convergence of Contrasts," and potentially sparking reflection and conversation among viewers, was profoundly motivating. This call for submissions felt like a perfect alignment with my values and artistic goals, inspiring me to create a work that embodies the power of unity in the face of division, and the beauty of diversity within a cohesive whole.
EL: My initial reaction was that I can't relate to ancient Greek plays - I didn't enjoy them in school. A friend explained her understanding of the play - that it's about the power of women when we are united. Ah ha! That I could work with! Once she said that I immediately thought of the protest marches I've attended in Washington, D.C., and the suffragist parade of 1913.
AKH: So! I am also a professional actor, and studied Lysistrata in school. I have always loved it; the subversive nature of certain productions, where the men were costumed in enormous erections, the power of the nude female form, usually so objectified and, really, vilified. In college, I had a makeup professor who was obsessed with Aubrey Beardsley and we studied his work as it pertained to the play. I feel like I would have eventually come around to creating work around this subject, so it was like kismet when I saw the call. It has also given me the inspiration to create even more work as an extension of my work in the show.
NR: I enjoy embracing the challenge provided by a proposal such as this- it invites me to step away from my usual approaches and inspirations. The theme of Women working together for positive change and the literary tie in sucked me right in and had me exploring for interesting subject matter, causes and stories of women. A friend commented when I told her what I was working on how exciting it was to have the chance to be introduced to some of the histories we don’t always hear about
Tell us about your piece for We Got the Power, and what it means to you.
MG: "Convergence of Contrasts" is more than just an artwork to me; it's a deeply personal exploration of the themes of unity, diversity, and the illusion of division. This piece, crafted meticulously from yarn, represents a tactile and visual manifestation of the idea that what often appears as opposing forces can, in fact, converge to create something harmonious and beautiful. It embodies my belief in the power of collective strength and the potential for reconciliation and unity in a world marked by divisions.
At its core, this work is inspired by the ancient Greek play "Lysistrata" and its modern adaptations, which explore the theme of women leveraging their collective power for peace. This narrative foundation provided a rich tapestry of ideas about the feminine and masculine, the personal and the political, which I sought to weave into the very fabric of my piece. The transition of colors from vibrant blues to intense reds is not just an aesthetic choice but a deliberate commentary on the political and ideological divides that characterize our contemporary landscape. Yet, as these colors blend and merge, they challenge the viewer to see beyond black-and-white dichotomies, revealing a spectrum of interconnectedness and shared humanity.
To me, "Convergence of Contrasts" stands as a testament to the belief that unity is not only possible but inherent in our very nature. Each strand of yarn, individually chosen and placed, symbolizes the unique stories and strengths of individuals coming together to enact change. This piece is a visual dialogue about the strength found in unity, the beauty in diversity, and the transformative power of collective voices in shaping a more compassionate and understanding world.
Creating this artwork was a journey of reflection on my own values and the role of art in society. It reaffirms my commitment to using my creative voice to inspire thought, provoke conversation, and contribute to a narrative of hope and unity. "Convergence of Contrasts" means a great deal to me, as it encapsulates my artistic and personal ethos, serving as a bridge between differing perspectives and a call to embrace the complexity and nuance of our shared human experience.
EL: The first piece I made spans over 100 years, from the 1913 Woman Suffrage Parade in Washington, D.C., led by lawyer Inez Milholland on a white horse, to the 2017 Women's March. In between is the 1975 Icelandic protest, in which almost 90% of Iceland's women took part. It was a labor strike that ground the country to a halt and resulted in the passage of a gender equality bill the following year. I love the little boy's expression of fun and amazement. Fights for justice are long and hard, and we need moments of solidarity and celebration.
The photo across the bottom, with the banner that says, "Mr. President, How Long Must Women Wait for Liberty," represents the “Silent Sentinels” of 1917 to 1919, who President Wilson had arrested, imprisoned and when they went on hunger strikes, they were force fed through the nose.
The second piece is all about the 1970s, when Women Take Back the Night Marches began. These marches still take place today. The larger photo on the right was taken by my Mom at a demonstration on a U.S. Army Base near Frankfurt, Germany in 1979. She and the other women were protesting wet t-shirt contests by holding this alternate version for men. Military police with dogs stood nearby during the event.
AKH: With these pieces, I have the chance to respond to my feelings on the divine feminine, a power within all of us, whether we identify as man, woman, or feel as if we are existing in a bit of a liminal space between, as I do. And the chance to speak to the absurdities of toxic masculinity and warfare, and get a little silly satisfaction out of creating something a bit subversive.
NR :My work focuses on the group action by Women Strike for Peace at the foot of the Washington Monument and the Agon scene in Lysistrata. I am portraying President Kennedy (in the role of magistrate) watching the protest from his window after being presented with his tools to carry out Women’s Work and while reviewing the protestor’s message. I like to wonder just who played Lysistrata in this case: maybe the Women Strike for Peace leader Dagmar Wilson or perhaps Jacqueline Kennedy herself? I also think about the parallel to the tales of JFK’s strong sexual desires with those of the males in Lysistrata, perhaps that desk is hiding something more?
When working through ideas for this exhibit, I came across so many tales of women working together for good, although none that resonated with me quite as strongly as this one. The action described above took place when I was a child and in an era I personally experienced. I was drawn to the idea of my mother and her peers stepping forward and expanding their roles from home and hearth but found it hard to believe. “Don’t worry, darling, they’ll come. It’s not so easy for a wife to get out of the house, you know. They’ll all be hanging round their husbands, waking up the servants, putting the baby to sleep or washing and feeding it-“ (Calonice in Lysistrata, Act 1). While my mother’s ideas were valued, taking much time away from keeping home and family would not have been very strongly supported.
“ If we stopped producing, caregiving, even for a day, can you imagine the ramifications? But it all starts with recognizing that we hold the power ”
— Autumn Kioti Horne
What does your piece respond to, both in the context of the play and in society?
MG: "Convergence of Contrasts" responds to the underlying themes of unity and the power of collective action found in Aristophanes' "Lysistrata" and extends these themes to address the broader societal divisions we face today. In "Lysistrata," women from opposing states unite in a strike for peace, leveraging their collective strength to force an end to war. This ancient narrative highlights the potential for unity to transcend societal and political divides, a message that is profoundly relevant in our current context.
My piece draws on this narrative to explore the dynamics of contrast and convergence, not only between genders as depicted in the play but also across the wider political and ideological spectrums that fragment our society. The transition of colors in the artwork, from blues to reds, symbolizes the spectrum of political ideologies, suggesting that these divisions are not as clear-cut as they appear. The blending of these colors challenges the viewer to reconsider the notion of opposition, proposing instead a vision of society where differences contribute to a richer, more harmonious whole.
In responding to "Lysistrata," "Convergence of Contrasts" echoes the play's call for peace and unity through collective action. It amplifies this message by reflecting on the contemporary issues that divide us, from political polarization to gender disparities, and the environmental crisis. The piece serves as a visual metaphor for the idea that unity and cooperation can lead to societal transformation, just as the women in the play achieve peace through their unified efforts.
Moreover, my artwork engages with the societal craving for dialogue and understanding in a time of increasing isolation and division. It is a call to acknowledge our shared humanity, to look beyond the surface of our differences, and to find common ground in the pursuit of a more compassionate and equitable world. "Convergence of Contrasts" is, at its heart, a response to the human capacity for empathy and the belief that art can be a catalyst for change, encouraging us to envision and work towards a future where contrasts converge to create unity.
EL: My pieces are 100% about the power of women coming together, of reminding women, as we continue the fight, of successes we've had over the centuries. Elizabeth Cady Stanton didn't live to see the 19th Amendment ratified, she knew she would not, and she wrote, "We are sowing winter wheat, which the coming spring will see sprout, and other hands than ours will reap and enjoy.” I admire her long view - it was 72 years from the 1848 convention to the 19th Amendment granting (mostly white) women the right to vote in the U.S. in 1920. We don't have that kind of time. We need to unite and fight, to save women's rights, regain what we've lost, gain more, plus you know, save the planet.
AKH: Each of the titles is a line from the play; the extensive references to threads and weaving, being knotted together to a collective end, and the power of elevating what was once considered “women’s work”.; the bawdy language often couched in wordplay. The idea that women are too emotional. The current state of politics in our country, and the fear of losing bodily autonomy. The participation in a political process that those of us with a uterus can not fully actually take part in until we have the same rights as the male-identifying members of society; the rage and the absurdity...All of these thoughts went into the bingo cage of my brain, and a trio of works spilled out.
NR: I hope my piece shows the strength that women have when working together towards a common goal, as in the play and in society.
Nanilee Robarge. Piece de Resistance, 2024. Cotton print cloth, inkjet print on cotton, inkjet print on silk, cotton and cotton poly thread, pearl cotton, commercial print fabric, polyester fabric, polyester twill tape, acrylic fabric paints. 12 x 24 inches. Available via Artsy.
How do you hope viewers will respond to your piece?
MG: My hope is that viewers will approach "Convergence of Contrasts" with an open mind and leave with a sense of reflection and perhaps a newfound perspective on unity and division. I aspire for the piece to act as a visual reminder, sparking conversations about the nuances of our differences and the beauty that can emerge when we look beyond them. I want viewers to see the artwork not just as a collection of fibers and colors but as a representation of the possibility of harmony within diversity.
Moreover, I wish for the artwork to evoke a sense of collective empowerment, reminding viewers of the strength that lies in unity. Just as the women in "Lysistrata" demonstrated that collective action could lead to significant societal change, I hope my piece encourages individuals to consider the impact of their voices when joined with others. In a world often characterized by polarization and conflict, "Convergence of Contrasts" aims to offer a moment of pause, a space for viewers to reflect on the importance of coming together to address the challenges we face.
Ultimately, my hope is that "Convergence of Contrasts" will not only be appreciated for its aesthetic qualities but also for its ability to engage viewers in a deeper dialogue about our shared humanity and the power of unity. I aspire for it to leave a lasting impression, one that encourages empathy, fosters understanding, and inspires a commitment to building a more inclusive and harmonious society.
EL: Variously: amused, surprised, inspired and ready to get out there and fight.
AKH: I think there is a progression in the three pieces, so I hope they go through the range: seeing the sort of ephemeral beauty in the first, through the interconnectedness (and maybe a little silliness) of the second, all the way to the dark humor and absurdity of the third.
NR: I hope viewers will identify with the idea of people working together to achieve goals that are important to them and to know of others who were brave and strong and created their own power; as well as those who were open to listening to the voices and concerns put forward. I also hope that there are memories of the era represented in my piece that may bring further meaning to it from individuals. Someone mentioned to me the memory of the drills in school where we hid under our desks- the picture of John Jr. was chosen for its playfulness as well as representing working while watching a child, but this other memory added a whole other layer to the image for me.
“ While my mother’s ideas were valued, taking much time away from keeping home and family would not have been very strongly supported.”
— Nanilee Robarge
Do you believe that women do have the power to effect change? How?
MG: Absolutely, I believe that women have immense power to effect change, both within their immediate communities and at the global level. This belief is not only rooted in historical evidence but also in the ongoing contributions of women across various sectors today. Women's unique perspectives and experiences, combined with their inherent strength, resilience, and empathy, position them as powerful agents of change.
Historically, women have been at the forefront of movements for social justice, peace, and environmental sustainability, among others. From leading suffrage movements that secured women's right to vote to creating initiatives for racial equality and environmental conservation, women have demonstrated time and again their capacity to lead and inspire transformative change. The narrative of "Lysistrata," where women collectively leverage their influence to end a war, underscores this potential in a poignant manner, highlighting how unity and determination can lead to societal shifts.
Women's power to effect change also lies in their ability to collaborate and build networks of solidarity that transcend cultural, national, and ideological divides. Their empathy and emotional intelligence foster environments conducive to dialogue and understanding, paving the way for collective action.
The power of women to effect change is multifaceted, stemming from their roles as leaders, innovators, educators, and activists. By harnessing this power, women not only contribute to creating a more just and sustainable world but also inspire others to join in these efforts, amplifying the impact of their actions.
EL: By uniting and taking dramatic, decisive, consistent actions. Though it's too late to benefit me, I'm thrilled to see the work of Moms 1st, who are fighting for affordable childcare, and in the U.K, Pregnant then Screwed is fighting to end maternity discrimination and the motherhood penalty. And there's the work of Moms Demand Action fighting to end gun violence, and the Social Justice Sewing Academy.
AKH: Of course. Women and those of us with uteri are more than half the world. We are the food providers, the farmers, the caregivers, the life givers...we must recognize our power. If we stopped producing, caregiving, even for a day, can you imagine the ramifications? But it all starts with recognizing that we hold the power. We already hold the power. We have to not be afraid to wield it.
NR: Yes yes yes. I am optimistic that our voices and perspectives are increasingly heard and valued. I do see the power in working together and think that women have historically been especially skilled at doing that and perhaps better able to come up with alternate solutions for the creation of change.
