Laetitia Adam-Rabel, Viviana Romero, Sandra Onetti, Maria Lino, Leslie McKinley, Laura Marsh, and Nancy Billings reflect on fiber artistry and their purpose as creatives.
As we continue our third-annual collaboration with Fiber Artists Miami Association, the exhibition, Women Pulling at the Threads of Social Discourse, continues to reveal just how layered the original premise is at its core. If there's anything we've learned over the years, it's that fiber's adaptable quality extends beyond its material capabilites. The idea that textile art holds a dual nature in its capacity to be equally tender and jarring brings about necessary, albeit poignant, questions of its role within the context of "fine" art, as well as just how much validity our societies are willing to afford to the feminine experience.
This year's edition, which features 100 pieces displayed as massive quilt, can be explored from perspectives totaling to the same, whether they're present subconsciously or explicitly. What is certain and unquestionable is that the democratization of the fine art industry allows us, the audience, to interrogate ourselves better, and more deeply, than a run-of-the mill homogeneity allows. Whether one feels uncomfortable, affrimed, or like they've learned something they weren't expecting to, what unites both the artists and the audience is the idea that self-expression isn't something personal, and instead something that is more often than not done in the same of unity.
In typical CAMP fashion, we're interested in what the artists have to say—about their relationship with textiles, whether fiber art and fine art are as mutually exclusive as we've been lead to believe, and about their nature as artists. Read on to get to know Laetitia Adam-Rabel, Natalia Schonowski, Viviana Romero, Sandra Onetti, Maria Lino, Leslie McKinley, Laura Marsh, and Nancy Billings.