I’m jazzed (jazz-handed?) to have embroidery artwork and creative writing in the newest issue of CROWDED zine, a quarterly multimedia zine affiliated with The Crowd Theater, featuring written and visual work of Chicago artists.
The Issue #3 release party is tonight, May 11, at 8 p.m. in The Crowd Theater near Lakeview! Admission for tonight’s show is free, and you can purchase a zine there for $6. They’ll be taking cash, card, or Venmo exchanges @CrowdedZine. If you can’t make the show but would like a copy, Venmo $8 to @CrowdedZine with your address in the description and they’ll mail you your copy!
Slate Arts + Performance proudly presents CONNECT, a new-media group exhibition featuring works by the following artists:
Joshua Eby Robert Fowler Erica Gressman Joo Young Lee X. A. Li Sarah Leuchtner Jackie Mantey Sara Alexandra Pelaez Christopher Riggs Christopher Marc Ford Andrew C. S. Rui Sha
The opening reception is from 8 to 11 p.m. Saturday, April 20, at Slate Arts in Chicago’s Avondale neighborhood.
Dropping off my artwork!
Gallery statement
“Connecting requires at least two points in which a link or attachment of sorts can activate. As human beings, our livelihoods depend on how well we build and maintain connections. Relationships. Neural networks. Sound waves. Internet speed. Fibers of one’s clothing.”
Artist’s statement
I have three individual pieces in the show, a triptych entitled “Good Things And Death Come In Threes.” (Three embroidery and thread on historical imagery in 14″ x 17″ wooden and pink frames, one inch between each frame: “Red Line,” “Yellow Line,” and “Blue Line.”)
The images in “Good Things And Death Come In Threes” were sourced from the public domain of the New York Public Library’s digital archives and selected for their visual representation of tools Americans have used to send a message, themselves, or others from one place to another; interestingly, these are also tools we use to disconnect ourselves from wherever we’ve come.
The title is a nod to the folkloric connections we often make as we search for answers and try to connect our existence to something bigger than our individual selves. The finished embroidered work reminds the viewer of photography’s ability to connect us to people not of our time or place, as well as the working class inheritance of thread as a means to weave historical narrative into making a modern point. That each embroidery has similarities is a representation of how we are all connected, whether we are together or alone.
2018 has been my favorite one yet! And one of its biggest moments was my gallery exhibition in September.
I finally started making the embroideries for “Gone, Country” (after, like, a year of talking about it as if I had already started…ha!…) the same month I quit drinking in 2016. I didn’t/ couldn’t allow myself to realize it at the time, but that embroidery work became a physical representation of what I was trying to make happen in my life.
It required humility and fearlessness to just make something, the same way it required humility and fearlessness to make such a huge change. I punched designs into paper one needle-hole at a time, the same way I didn’t drink one day at a time. I made those small incremental holes in the darkness of an image, the same way I slowly began bringing light to parts of myself I had long been avoiding.
Taking time to make an embroidery gave me something to do with my hands while I simultaneously took on the terrifying business of learning to talk to myself in a new way; it took the pressure off. It also proved to myself that I wasn’t just someone who talked about her dreams. I had the courage to try. And, in the meantime, I made some cool shit.
Creativity was means/space/outlet for healing. I recently spoke about this process to the awesome women of The Unruffled Podcast. It’s such an honor to be included in their interviews, and I am thankful for their efforts to create a community for women to talk about these experiences of making art while making a more compassionate way of life. (If you’re interested in creativity and overcoming the nonsense we put in between ourselves and our greatest potential, I highly recommend adding Unruffled Podcast to your pod roll!)
Here’s my episode! I love that it’s the last one for the year. I hope to embrace 2019. To keep getting better, braver, kinder, stiller.
Sending you all so much love into the new year. Thank you for being part of my story. I hope you have THE FUCKING GREATEST 2019 EVERRRR!
P.S. / FYI: I am co-launching Zero Proof Book Club in February with my good friend Shelley Mann. We read and discuss books about sobriety, self-growth, or surviving—and then thriving—in spaces that profit when we numb ourselves, from ourselves. You can go LIKE the page now and stay tuned for more in the future. xoxo
We uninstalled Gone, Country a few weekends ago, and I want to say THANK YOU from the bottom of my blueberry heart to everyone who came out to shows, performed at shows (you all were incredible!), bought an embroidery, bought a book, and/or simply said a kind word or thoughtful insight about the work/concept in all its parts.
I can’t believe I did this, and I am pinching myself a little still… I couldn’t have survived it in one piece without all the encouragement, so thank you. Especially to Justin, and the Slate Arts Gallery team. Can’t wait to do another one following, like, a six-month nap…
I hope you think of me whenever you see gaudy lawn flamingos doin’ it for themselves. Just trashy pink collar girls trying to stand strong in a white collar world. We gonna make it, Pip.
Slate Arts gallery in Chicago’s Humboldt Park neighborhood is hosting an exhibition of my embroidery work throughout the month of September! Each Saturday at 8 p.m., join us for a **free** performance of storytelling and live lit by me and some of my favorite writers in the city. The show Gone, Country includes 20 pieces of embroidered artwork framed in repurposed barn wood, two banner collages, and a creative nonfiction book I wrote as a companion piece to the exhibit ($20). See you there!
Check it out, friends! My artwork has made its debut in the, fittingly enough, debut publication of the Chicago Writers Association’s Write City Review. It’s so exciting to see my name and work in there that I could burst. I know this isn’t a big deal, like, at all, and I’m used to seeing my journalism bylines, but having my creative writing and embroidery published is a rad new development that feels awesome and I’m totally humbled by it.
