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The history of textiles is inextricable from the story of humanity, a storied and ultimately functional craft that, with the advent of the Industrial Revolution and feminist fiber art movements of the mid-20th century, has become emblematic of not just the innovative qualities of the human animal, but of textile’s innate communicative quality.
That is to say, the fabric of each individual’s life is woven, sewn, embroidered, with cultural markers, ideas, and stories, bleeding into the realms of art, national identity, and clothing. Textile work encompasses multitudes of patterns, colors, techniques, and identities across the globe, a living, breathing record of centuries of change. The history of textiles, to a large degree, is also inextricable from the feminine realm, transforming over the years into a “domestic” craft through which women could find their place in whichever society they found themselves in.
Enter Cuban, Miami-based fiber artist Aurora Molina.
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Isolation vs Peak 2021. Wood and recycled t-shirt yarn. 49 x 24 x 2 in.
Born in Havana, Molina emigrated to the United States at 16. The beginning of her relationship with fiber art dates to her childhood, but it wasn’t until she took an experimental fiber painting class in Miami that she began engaging seriously with textile as an art form. Now, Molina, a working artist with an extensive exhibiting history, teacher, and founder of Fiber Arts Miami Association (FAMA), continues to not simply adapt to, but fiercely engage with changing times all the while keeping her foot on the pedal of a sewing machine.
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Self-isolation, 2021. Wood and recycled t-shirt yarn. 46 x 37 x 2 in.
Given the turbulent refreshing deconstruction of “tradition” in the last year, Molina has adapted in her own, uncannily timely way, swapping sewing machines and embroidery for hand weaving, and in turn putting her vulnerability and humanity on display and asking the same of the audience.
Her February exhibition at The CAMP Gallery, The Texture of Grief, sees the artist moving away from her characteristic figurative style and embracing the abstraction of emotion and time. Collectively, the works are grounded in tension, be it visual or spiritual, embodied by the act of weaving.
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“I think it is extremely important that artists become the commentators of our time… I make political satire with the help of thread. I think it is crucial today when fiber art is playing a new role in art history. Thread is not only being used as embellishment but as a statement; a political consequence of women not longer sitting in circles, embroidering flowers.” — aurora molina
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Super Spreader, 2021. Wood and recycled t-shirt yarn. 35 x 35 x 2 in.
It should be striking that Molina’s moments of solace were nonetheless consumed with thoughts of pandemic. While her body of work is known for sharp, smart criticism of global institutions and social injustices, it is apt that her new pieces reflect this precise moment, what is being referred to as the Great Pause. Her foray into weaving has only served to round out what has been her mission all along.
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Exposure Outbreak, 2021. Wood and recycled t-shirt yarn. 33 x 33 x 2 in.
"These intrusive and obsessive thoughts keep them worrying and causes emotional and physical problems that keep them from functioning socially and leading meaningful lives. In this series the elements such as tension, texture, lines are expressing themselves in ways that seem to displace our expectations, more closely resembling storylines or thoughts woven in time to what we are experiencing right now."
Aurora Molina
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With each movement, these pieces become sites for transformation. Each fibre moves in tandem with Molina’s essence, sprouting from inborn tension and anxiety about the past, memory, and isolation, evolving from negativity to a place of resolve; the yarn acts as a stand-in for time, the act of weaving as a confronting of it. The result is a series that bares witness to an artist’s fears, intrusive thoughts, and vulnerabilities, and sees her triumph.
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Curated by Maria Gabriela Di Giammarco, creative and editor for The Contemporary Art Modern Project.
