Woman, Untitled (2026) is a vibrant, multi-textured textile work that transforms the “leftovers” of creative labor into a monument of personal agency and forward momentum. The piece presents a figure captured in a wide, purposeful stride, navigating a high-contrast environment with a sense of curated, self-constructed identity.
The Materiality of the Self
The primary strength of this quilt lies in its sophisticated use of upcycled materials, which imbue the figure with a sense of history and resourcefulness. Rather than using new fabrics, I utilize the remnants of previous efforts to build a cohesive whole:
-
The Hair: The most tactile element is the crocheted hair, which cascades in heavy, 3D curls of purple, teal, and grey. This adds a sculptural depth to the flat surface of the quilt, suggesting a mind that is dense with complex, intertwined ideas.
-
The Jeans: The legs are constructed from scraps of denim salvaged from a different project. This “re-wearing” of fabric carries a narrative of durability and the continuation of past work into a new phase of life.
-
The Purse: The structured handbag is crafted from wallpaper scraps, bridging the gap between domestic architecture and personal fashion.
-
The Ensemble: Both the shirt elements (the floral orange bodice and pearl-accented belt) and the purple studded shoes are composed of leftovers. This choice elevates “waste” into a deliberate aesthetic, suggesting that the figure is literally made of her own experiences and previous creative cycles.
The Geometry of Motion
The figure’s skin is rendered in a batik pattern, which breaks away from traditional realism. By abstracting the physical features into a pattern, I remove specific ethnic or individual identifiers, and suggest a universal quality. This stylistic choice indicates that this could be any woman; she represents a collective experience of moving through the world with purpose. Her wide gait and the slight tilt of her head convey a sense of confident arrival.
The backdrop—a black-and-white houndstooth fabric—provides an intense kinetic energy. The repetitive, sharp pattern of the houndstooth acts as a visual “static” or a rigid societal grid that the figure vibrantly cuts through. This tension between the structured background and the colorful, organic movement of the woman emphasizes her independence.
A Whimsical Environment
Surrounding the figure is a flurry of multicolored, leaf-like shapes in shades of coral, teal, gold, and lavender. These elements soften the composition, suggesting a seasonal transition or perhaps the “spark” of ideas trailing in the figure’s wake. The arched black border gives the entire scene a formal, almost ecclesiastical framing, turning a simple walk into a significant, sacred act of self-presentation.
Woman, Untitled (2026) is created in the “art of the carry-over.” It argues that our past projects, our discarded fragments, and our “leftovers” are not trash, but the essential building blocks of our next great stride. It is a portrait of sustainability—not just of materials, but of spirit.
The Tactile Resonance of the Stitch
The tactile resonance of the stitch in Woman, Untitled (2026) serves as a physical testament to the durability of memory. By integrating these disparate fragments—the rugged denim from a previous life and the delicate crocheted spirals—the work creates a sensory landscape that mirrors the complexity of a lived experience. This textural depth gives the figure a sense of weight and permanence, ensuring that while she represents a universal “everywoman,” her presence is felt as a solid, physical reality. The act of stitching these leftovers together becomes a meditative process on resilience, suggesting that our identities are not given, but are continuously and carefully crafted from the pieces we choose to carry forward.
Woman, Untitled (2026) is currently not for sale, although she will be once she’s moved into her temporary gallery home.
