Two dead bees lay together in the center of a yellow flower at Red Rock Canyon.

Why I’ll never doubt the power of a flower again


I haven’t heard my grandma, who is suffering from Alzheimer’s and dementia, say a coherent word for nearly three years. She said these last words while receiving communion at the assisted living facility. As everyone genuflected to launch into the lord’s prayer, my grandma did too, saying “Father, son…” and then petering out. I figured those were words she could formulate because she had gone to church and said them every weekend of her entire life until the day she moved in here. Those words were seared into the empty rivulets of her brain, so they didn’t seem a miracle to fish out.

I accepted the reality that I’d probably never hear her say another word again.

And then I did.

A lone ant climbs along the silky petals of a bright yellow dandelion.

It happened on my recent visit, a drop-in at the assisted living facility that marked over a year and a half since I’d seen her (pandemic lockdown).

Once my plane landed, I got my rental car and started on the hour-long route north. I called the nursing home to make sure I could walk-in to see her or whether I needed to make an appointment. I didn’t. I asked then, to the surprise of both myself and a Wanda on the other end of the line, if I could bring flowers. Would that be OK? 

I don’t know what came over me to ask such a thing. I don’t usually bring flowers when I visit. I don’t usually bring flowers for anything. Maybe I thought there needed to feel like there was more gravitas to this moment. I hadn’t seen her in so long. We’d survived a pandemic. Her husband died during that time. I knew she wouldn’t remember me, but flowers… well, anyone can remember those, right?

A small side yard in Chicago is full of dead dandelions. Their fluffy white tufts shine in the sunset behind them.

I thought about just hopping off the highway to a Kroger or a Whole Foods. They always have little flowers packaged up at the end of the aisles. Instead, I looked up the local Marion flower shop, saw they were open, and entered the address into my phone. It felt good to buy from a local family business after the pandemic. Plus, I knew they’d probably have roses. My grandma’s name is Rosemary. Even if she didn’t remember me, I wanted to show that I remembered her. I got half a dozen multicolored roses for Grandma in a glass vase and another half-dozen in a mournful maroon to take to my grandpa’s grave. He loved his Rose. 

A poem by Satyendranath Dutta reads, "If you manage to get one paisa, buy food to feed your hunger... But if you manage two, take half and buy a flower."

When I enter the long-term care wing and ask for Rosie, the nurses look at me grimly, wondering whether I’m prepared for just how far gone she is. I am. They wheel her into her room and shut the door. It’s the two of us.

After some fruitless and awkward talking to her while sitting across from her, I spend most of my time squatting next to her wheelchair, rubbing her back and nervously trying to use my other arm to keep her in her seat. The medication they gave her keeps her nodding in and out of sleep. She doesn’t register my presence when she has to look at me, but she seems to lean into my hugs.

So I position her so that when she wakes up from the brief naps, she’ll see only the flowers, now sitting on a table in her room. 

And that’s when it happened. I was squatting by her side, arms around her, when she woke up and, clear as day, said, “Flowers for me.”

Three little words. One moment I’ll remember forever. 🌹


A white and yellow daisy embroidery art on a tractor wheel, part of a black and white historical photo of farming in America.
Found photo collage on a small black notebook. A miniature-sized farmer opens his bag to reveal a giant flower.

She passed away two weekends later. While writing her obituary, I turned to my notebook of stories written by her and my grandpa. There I found another gift. A recollection of her first memory: “I was about 2 ½ years old then. [Brother] Eugene and I were in the barnyard with Dad. We were standing near a wagon watching the men who were taking the horses. Well, about the time one of the horses was being led to the truck to be taken away. Dad put his hands under my arms and swooped me up into the wagon, as he did with Eugene. I remember the horses coming by the wagon bobbling their head like horses do when they walk. I was about eye-to-eye level with the horses. I think this is the earliest memory of my life.”


Matching totebag, notebook, and bookbag by macro.baby

Back to school bookbag and notebook combos


These back to school bookbag and notebook combos by macro.baby fit the trends—and everything else you need them to hold.

The backpacks have a heavy-duty construction, padded nylon backs and bottoms with durable spun poly fabric, and an interior pocket for a laptop. The notebooks are on a high-quality 70-pound paper and feature an anti-scuff laminate cover with a super-soft matte feel.

Mostly, though, they look cool, right? Right.


Colorblock

Pop of pink

Cool shapes


A string bikini made of orange and yellow neon thread embroidered into a black and white photo.

Summertime and the water’s fine


Neon thread embroidery of teddy and string bikini on a historical photo of a woman hanging working laundry on a clothesline.
“Delicate” by Jackie Mantey // Original image info: Dorothea Lange, 1938, “Women in auto camp for migrant citrus workers. Tulare County, California.”
Detail closeup of neon thread embroidery of teddy and string bikini on a historical photo of a woman hanging working laundry on a clothesline.
There’s a time and a place to air your dirty laundry. That time is now. That place is my heart, girlfriend! ☎️

On our recent trip to New Mexico, I made it all the way to the clouds before realizing I’d forgotten my swimsuit. My old bikini remained rolled up somewhere, seducing moths with its neon thread trim and fading pheromones of summer’s past (chlorine, sunscreen, Red Hot French fries).

How does one end up suit-less on a pool-centric vacation? I blame COVID. It’s been a year and a half of never really leaving the apartment. I don’t know how to plan to be out in the world anymore. I’m still getting my sea legs back under me. Pool legs?

We landed in El Paso and saddled up our slick white Mustang to drive to Las Cruces. As I worked from my laptop at the Airbnb we’d rented for a few days, Justin drove with the top down to Target and tried to find a swimsuit in my size that was as close to cute as possible. 

He came back with this neon orange bikini:

Woman poses in a bright orange bikini while standing beside a blue pool.
Emergency pool purchase swimsuit.

It’s too big in the bottom. The drawers are droopy. Any time I climb out of a pool, waterfalls pour from the sides. I look like a soggy toddler bopping around in a dragging, dirty diaper. 

But who cares. It was a sweet pick. He even snuck a size swap so that the top and bottom are two different sizes. Medium on the top, large on the bottom for my back-country backside. 

I guess that’s just what happens when we forget how to do things we used to remember. We improvise. We make do. We jump in feet first. I’m just happy to be here.


Published: New art and writing in Intima


I’m excited to have a new essay and artwork featured in the Spring 2021 editing of Intima Journal of Narrative Medicine!

My essay, titled Sleep to Dream, is the story of how a recent medical diagnosis has been a surprising, missing plot point for several of my self-narratives.

“Fatigue is my kryptonite. The never-ending scramble for sleep is simply part of who I am. That was the story I told myself, anyway. Then I fell asleep while alone in a late-night Uber ride and finally admitted that slogging through these onslaughts of exhaustion was cause for concern. 

That’s why I’m here, trying to make small talk with an uninterested sleep technologist pushing electrodes onto my head


Art as self-authorization


I spent most of January in an escapist headspace, burrowing down into several subjects, my fascination with which have taken me by surprise.

1) Richard Yates. I read Revolutionary Road in 2008 when the movie came out because my tween brain imprinted on Titanic-era Kate and Leo in 1997 and I’m pretty much subconsciously committed to following them in a space ship to Mars if they were featured as star-crossed lovers in its alien-infested bowels.

But. I never watched Revolutionary Road the movie for some reason? Probably because I read the book first and it was devastating; too devastating to see on screen right afterward. Fast forward almost 13 years later, the movie’s on HBO Max and with all this quarantine time on my hands, I gave it a crinoline-skirted whirl and… god damn. Devastating, yes indeed, but I was surprised at how differently I thought of the characters and the plot with some years as an adult under my belt. (APRIL, I KNOW, IT SUCKS YOU CAN’T SELF ACTUALIZE BECAUSE OF THINGS OUTSIDE YOUR CONTROL, BUT YOU LUCKY BITCH, JUST ENJOY YOUR HOUSE AND WORK-FREE LIFE OMFG.)

Perhaps my bleak outlook is quarantine related. Or could it be because the movie is different from the book? I bought a three-book tome of Richard Yates’ work and decided to find out. This turned out to be the biggest January 2021 gift of all! What a cynical, destructive, brutal, little worm Revolutionary Road is. 😍 Like the girl-smirking-at-house-fire meme in book form. I love it, and I find such unrepentant catharsis in how slowly but surely Yates dismantles each character with the kind of rage-eyed honesty no one wants to be in front of but, if you see the people the way he does, feels so rewarding and relieving to watch.

And how he does it is startling. Funny almost. You can’t even see it coming. Example: The following savory paragraph about how the children can sleep comfortably now that their parents have stopped fighting (because mom and dad are high on their unrealistic self-deluded fantasy that will eventually kill someone but we’ll get there soon enough!).

“They could lie drowsing now under the sound of kindly voices in the living room, a sound whose intricately rhythmic rise and fall would slowly turn into the shape of their dreams. And if they came awake later to turn over and reach with their toes for new cool places in the sheets, they knew the sound would still be there—one voice very deep and the other soft and pretty, talking and talking, as substantial and soothing as a blue range of mountains seen from far away.”

Then, next paragraph, like a slap in the face from a surly sugar plum fairy:

“This whole country’s rotten with sentimentality,” Frank said one night…

HA!


2) Dennis Rodman. I know, girl! I don’t know! Whyyy?

This minor obsession was inspired by another thing we finally watched: The Last Dance docu-series, which chronicles the 1990s Chicago Bulls as they went for their sixth and final title. At first I was really grooving on Scottie Pippen, learning about his playing style, often relegated to the second paragraph (rightfully so) behind Michael Jordan (GOAT). Then I met Dennis “The Worm” Rodman. Like, basketball Dennis Rodman. I’m so compelled by him! I’m trying to figure out why? I love the way he played basketball, I know that much. Gutter ball go-getter, beast hunter of the rankest of rebounds, trash-talking trash man king of the trash can people…


3) Art as self-authorization. That both of the angry, broken-hearted people listed above struggled with addiction issues all their lives, is the only thing not surprising to me.

I’m interested in people who have channeled extraordinary pain into something else and then turned that “something else” into a brand new something else. Something only they could do or make or be. And if it’s got a little dash of rebellious, self-supporting stank on it, even better. Dennis Rodman became his own performance art piece on the basketball court after accepting that the love/loyalty he thought existed in the world did not, in fact, exist; turning into Dennis Rodman as we now know and (I) love him was the alternative to suicide. For Yates, writing about loneliness, hopelessness, and self-dishonesty the way he did throbs with recognition; this is someone who lived most of their life feeling like a balloon within a balloon, disconnected from others and bumbling about in the void.

Maybe what’s appealing to me about Yates and Rodman right now relates to the third thing I thought about a lot this past month: the idea that being an artist is simply a matter of self-authorization—authorizing yourself to see what you see and express it however you see fit, then move on. I dig that. Feel inspired by it. Even when it comes from deeply flawed sources. Especially when it comes from deeply flawed sources (who have tried and failed to redeem themselves over and over). For those artists I am “rotten with sentimentality.”

Related: Below are some videos I made for my gallery’s Instagram stories this month. I ~authorized~ myself to learn how to animate my work and post it even if I don’t think it’s perfect yet. Can’t wait to see what February brings. Stay healthy, friends.

Mom Genes


Memphis


New Playground


Yo Yo Mama


Illustration A Day Project entry, geometric illustrative graphic design

365 of 365: Done!


The day after Christmas 2019, I jumped into the Adobe deep end and purchased a year’s-long subscription to Illustrator. I was eager to learn the program, though I can’t remember why? Less expensive than buying canvas and paint, maybe?

Regardless, it turned out to be the best investment of 2019 (and we bought a French press that year!). Making an artwork every morning proved to be an anchor of consistency in a chaotic 2020, a way to visually track my growth in a moment when time started to feel like an unreal flat circle.

And you know what they say: When life gives you time that feels like an unreal flat circle, turn those flat circles into abstract illustrations. Or something.


Three benefits of a daily creative practice:

  • It breaks down big tasks into bite-sized baby carrots. Doing something daily means you can pick a task that only takes 20 minutes a day and still feel (and be) very accomplished by the end of the week. This makes finishing your Big Project feel mostly carrot, minimal stick. 
  • You learn to trust yourself. I mean, it’s similar to why you teach kids to make their bed every morning. It doesn’t really matter if the bed is made; they are going to just sleep in it again the next night. But it does matter that you learn to trust yourself to do small things in service of your future self. Getting into a made bed at the end of a long day feels so much better than getting into a messy one, right? The self-loving follow-through is what becomes the habit, not the act of the habit itself.
  • You get better at whatever you’re practicing. And you make some cool ish in the meantime.

In other words, I’ll be back at it in 2021. Cheers, friends. I hope you have the happiest, healthiest new year!


Creativity Q+A: Why pink?


Why pink? I’ve always loved this color.

Evidence: Baby J, pink lei.

I’m drawn to every version of it. Bubblegum. Neon. Fuchsia. Pepto Bismol. Patent leather (my favorite).

My senior year of high school my mom made me a hot pink crochet blanket as a graduation gift. I loved it. For a while. Then I stored it away in the top of my closet for about a decade. Why? Pink feels authentic to me, but I became embarrassed by my love of the color.

Pink seemed too conventional, too basic, too one-dimensional. That was how I perceived others perceived it. It was as if pink had already been claimed by women who weren’t like me, representing identities of the shopaholic bimbo that I wanted to distance myself from. I felt like pink had been claimed by a consumerist or sexualized society that made me feel less than valuable.



By my mid-college life I had veered away from pink’s statements, shamed by how the color has been weaponized to sell women shit and commodified to represent a whole community (i.e., who should like it and who shouldn’t). I was also cowed by the seeming conventionally of it (this, my own confused internalization of the weaponization of the color), and instead dabbled for a bit in punk rock black or wannabe-queer camo. Color and pattern are so tied to identity in that way.

Eventually, as I settled into myself, I came back around to pink, and I think it’s no coincidence that I fully embraced its powerful hold on me in my 30s, an age profound in its allowance to let me be myself. My true self. My awash in pink, sadly joyful selfhood.


A custom job for my friend Mandy.

Pink is a symbol of my roots, my discontent, and my self actualization. 

I love when men wear or like pink, but I am not too interested in using the color as an obvious gender statement in my artwork, though it probably can’t be unthreaded from that experience in a small capacity. No, I use it in my artwork as a reclamation of the color individually. Pink is powerful. I don’t find it feminine necessarily, but I myself am feminine and find power in being feminine—and power in accepting my femininity.

As an artistic element, pink makes anything and everything pop. Pink is a bold choice. It draws your eye and doesn’t let you go. I like that it’s still a bit divisive. It is the most stereotyped hue, as far as non-bodily pigment is concerned. 

Pink draws attention to itself. Pink makes you look. Pink says, “I am not what you think I am… even though you are looking at me because you think you know precisely what you think I am.”


Pink fluff in Red.
Pink slime in one of my embroidery artworks.

Pink in an artwork makes you confront something inside yourself.

That something could be big or small, upsetting or comforting. Doesn’t matter. The confrontation is what’s important. A confrontation is a question that makes you pause. It can be as small as a stitch, or as big as an elephant. A confrontation is a question that you’ll answer almost immediately with your intuition. That’s what I’m interested in. The naturalness, primality, invoked by such an unnatural color.

Pink is a loaded adjective as much as it is a color. It is something we culturally face everyday so we’re bound to have associations with it.

Pink cloud in sobriety refers to the typically short period of euphoria that some people feel soon after quitting their drug of choice. 

Pink tax is the term for how women are nickel and dimed on toiletry products made for their gender.

Pink line(s), one or two depending on your situation, is what we look for on pregnancy tests as the minutes tick by. 


One pink line in Untouchable

Can’t we just like something? Sure, but what we like has connotations, meanings, and layers. I don’t judge these. Just find it interesting. When we confront our connotations, meanings, and layers as individuals and as a whole, nonjudgmentally, we are closer to making change.

In the path from girlhood to adolescence to adulthood, the color identity shifts along with one’s self and understanding of their persona and place in the world.

Assumptions can be made. Let them.

What we like can change. Let it. 

Who we are can change. Let’s.

The color though. The color never changes. And maybe that’s it. Maybe pink is some form of—some outlet for—controlling the narrative of my own life. Seeing my self, my life, my color for what it truly is: Whatever I make of it.

And I want to make it beautiful, fun. I want to make it pop.


Pink nails by me. Quote by Celeste.

Now open! Shop hand-stitched embroidery art


Weeee! Today’s the day! My shop went live today at noon, and I hope you take a chance to poke around. Up now: original hand-stitched embroidery art, collage notebooks, and limited-edition prints of some of my favorite pieces.


Embroidery art on multimedia

Embroidery on historical photographs

Prints

Collage notebooks


A pandemic-inspired project

I started building the website in April after it became apparent that any art and craft fairs for the spring and summer would probably be canceled because of the pandemic. Little did I know that art and craft fairs for the rest of the year would indeed be canceled too, and my opportunities to share, show, and sell my work at Chicago galleries and storefronts would also be gone with 2020’s germ-infested wind.

A friend of mine recently told me she had heard on a podcast that the best way to mentally get through the pandemic-imposed isolation so many of us are participating in is to do things that accomplish two objectives: novelty and progress. So, for example, cooking new meals (novelty) every Friday from one cookbook (progress). Building this shop has helped me achieve both of those things. The shop is new and, as I plugged away on it with the new spare time on my hands, I slowly progressed the thing from a blank page subdomain into a working shop.

I loved it. The time-consuming, trial-and-error process of building a website reminds me of the meditative work it takes to thread hundreds of stitches into a photograph. This kind of work is endlessly therapeutic for me. I did the design, the building, the inventorying, the anything-and-everything associated with the site all by myself on purpose. I wanted to own the whole thing so if something went wrong, I had the knowledge of how to fix it—or at least where to start looking for the problem. If that’s not a healthy psychological attempt to give myself a sense of control in 2020, I don’t know what is.

I had to develop my inventorying process, shipping workflow, and branding experience. I used Asana to manage my to-do list, because each step in the development challenged me with new questions big and small. Do I need a Cookies alert? How do I weigh packages? What does the UX look like after someone makes a purchase? Who is cPanel? Why the hell won’t my site load? ~et cetera~ (Shoutout to all my YouTube and Creative Live teachers!)

This, the year of our lord baby Beyonce, has been a doozy. Having a digital space to call my own, structure and design at my own pace, and turn to as an expression of creative optimism for the future, has been, well, essential. A new study released in September by Harvard’s School of Public Health found that an optimistic outlook may be a healthier one: “In a population of relatively young and healthy U.S. Army active-duty soldiers, we found that those who tested highest for optimism at the start of the study had a 22% lower risk of developing hypertension during three-and-a-half years of follow-up than those who scored the lowest.”

I’m certainly not soldier-level stressed, but the study’s findings aren’t surprising to me. Building out the shop has been an exercise in escape as well as positivity. It helped me escape into something productive and it pushed me to consider what my future creative practice would look like. Why build a shop if I don’t believe the future will be good? Why work toward something to share in the future if I don’t believe there will be one? Why share my art if I didn’t believe it was going to continue? The shop has been a lighthouse for me in a dark storm cloud year.


Pushing my practice

The other important benefit I discovered while building this shop is that it has helped put boundaries around my current visual art practice and consider how all of my work fits together under one big umbrella that is me.

I think of clearly defined boundaries/constraints in creative practice similar to bowling with bumper lanes on. It helps.

As I worked on laying out the pages, I had to think about how the shop would connect to this site, which then brought up questions of my content on here. I think of jackiemantey.com as an archive of my creative life, as well as a space to jam on current works-in-progress, but what does that look like when I now have a secondary site I want to drive people to, and how do I shape the experience so that it isn’t burdensome for me or the people who visit my sites?

Other questions this work answered: How do I maximize my time working on my many projects, and how do I do it with intention? Am I an embroiderer or an illustrator or a photographer or a writer? All of the above? I think I’m all of the above, but thinking through all of this forced me to outline a hierarchy of these practices and shape an idea of how I envision them all coming together and growing in my next visual project. This work will be pivotal to my decision-making about what I work on next. It gave me guide rails and helped me define what I want to do with myself and my creativity. That, my friends, comes as a relief to a narcoleptic overachiever with a million and one ideas. It gives me something to refer to when I need to say no to myself and get down to the doing.

How did I go about all of that behind-the-scenes figuring-out-of-stuff? I journaled the shit out of it! In my professional work, I write about artists, their practices as individuals, and how they have come to find and refine their voice. And, bonus, I write brand guidelines about voice, tone, personality, visual language, and more for companies with seemingly disparate, quickly moving parts. So, I decided to do all of that work I usually do for other people, for myself.

I audited my current work and thought a few years ahead of what my dream life as a maker might look like. I defined my visual language (ie., Why do I use pink so much; what does the color represent for me? Why thread? Why old and found photos? Why do I love those slash marks so much?). I wrote out what I did and, importantly, did not want my work to be for me. I wrote about why I make all of this in the first place. I thought of ideas for how the illustration, embroidery, photography, and writing could merge together long term (a direct result of this particular piece of this exploration: My homepage design, which I made in Illustrator using cut-outs of a photograph of flowers I’d taken during quarantine).

In the final stages leading up to launch, the shop also presented an opportunity to learn and experiment with other modes of making. I watched YouTube videos on how to animate photos in Photoshop, and made a few animated videos to announce the opening on my embroidery Instagram gallery. I’m excited to play with this more!

Whew, OK. There’s a lot here, and I have so much more to tell you, but this will do for now. I feel totally geeked (and, per usual, annoyingly sincere) about how focused I feel now because of putting together something as seemingly basic as a website for my work. The project unlocked a lot of understanding about who I am, why this work is important to me, whether I’m a professional or not, and how it will all evolve in the future. Like they say on the Twitter, “Thank you for coming to my Ted Talk.” Now, go visit my shop.

Go to shop.jackiemantey.com

Be sure to sign up for my email list while you’re there so you can receive monthly alerts with new inventory and stories about the work.

Creativity Q&A: Why thread?


My visual art practice started with embroidery in 2016 because of sobriety, but I think I was particularly drawn to threaded work because I already knew my way around needle and thread. I had learned how to sew as a kid through 4-H projects. My Great Aunt Alice, an incredible seamstress (and elementary school secretary), was my guide. Several weekends every spring, Mom would drive my sister and I out to the other side of the county and drop us off at my aunt’s small brick house. There, we’d cut out our fabric, prep our bobbins, and get to work on the sturdy sewing machine she kept tucked away in her bite-sized kitchen. 

I loved hanging out with my Great Aunt Alice—but I hated the work. Sewing is, like, mind-numbingly tedious to a pre-teen/teenager, and I just wanted to play outside! My favorite moments on those sewing sleepover weekends was when the three of us would walk the quarter-mile country lane between Alice’s house and our great grandma’s farm for a visit and a snack. (And that the one time we watched NASCAR at her house, Dale Earnhardt died. I watched the fatal crash while ripping out seams on a jumper, slack jawed and entranced. “Is NASCAR always like this?!” It’s the only car race I’ve ever watched. Weird.)

My bad attitude aside, those formative stitching experiences did teach me, at least, to be confident around needle and thread. So when I hauled my begrudging but hopeful self into a JoAnn Fabrics at age 30, after more than a decade avoiding anything of the sort, it was like finding an old, steady friend. And an old, steady friend was exactly what I needed in early sobriety (and exactly what I needed at the beginning of a visual practice as a writer who thinks she’s “bad at art”). But now it’s four years on. Why is thread still an ideal material for me? 


Embroidery art by Jackie Mantey on black and white historical photography, woman with arm tattoo
“To admire a piece of hand embroidery is to appreciate time itself.”

Thread makes me slow down and take my time. Now that I’m no longer a jangly bundle of teenage hormones, I appreciate the meditative space of sitting still to work on something for a long period of time. I can’t rush a piece of embroidery without running the risk of ripping the photograph and, thus, wasting time and resources, so it has a practicality to it. However, my appreciation for thread is philosophical and psychological too. Like the Oregon Trail Millennial that I am, I remember life before the internet and recognize that technology has our lives going at an unusually warp speed. It’s the digital wild wild west and it’s cool but also awful and it’s, ultimately, exhausting. The act of pushing a needle through another material is some throwback shit that is simultaneously novel to me. 

Working with thread is a physical experience. When I’m working on an embroidery piece, I’m using my fingertips to delicately thread a needle versus, as per 21st-century-usual, steering them toward a screen to unlock or a virtual thumbs up to give. This physicality is a complementary contrast to my writing practice. Writing is physical for one part of my body—my fingers, as I type. But embroidery of even the smallest of stitches requires many movements in one: pulling from my shoulders, a lean back of my spine, an in-breath as I push the needle in, an out-breath as I pull the thread through. And again. I enter a repetitive physical trance that centers me in my body and asks me to stay. To “stay” is an essential physical and emotional skill, and it’s one that embroidery helps me practice on a daily basis.

Thread can’t be saved on a hard drive. A half centimeter flower made of thread can take me half an hour to get right, and there are images I fuck up but keep working on in order to practice certain stitches or colorways. And, gasp, I never share these publicly. (Doing something expressive we enjoy without talking about it on social media is a cultural novelty at this point!) These practice uh-oh pieces are, I think, not unlike the delicate Buddhist sand mandalas that are purposefully swept away (to dust you shall return!) when they’re complete, an act that symbolizes the impermanence of, well, everything (RIP Dale Earnhardt). I can get lost in time while making an embroidery piece. More accurately, time becomes unnecessary, I become present in each moment and in each breath. With thread, I don’t feel that profound, full-body loss of time when I’m writing or designing something on my computer. What a gift!

“It is particularly pleasing for me to see that the language and imagery associated with embroidery is suddenly to be found everywhere in modern life. Words traditionally associated with needlework now permeate digital and scientific language—we talk of email threads, strands of DNA, the web, the new, and now, most satisfying of them all, string theory. An embroiderer will identify immediately with the idea that the universe and its contents are made up of sub-atomic loops and threads. // To admire a piece of hand embroidery is to appreciate time itself—your fingertips can almost touch the hours, days, and weeks embedded in every stitch. I urge the readers of this book to relish the relaxing pace that the medium requires. This pace and the attention to detail needed can be the perfect antidote to the distractions of modern life. The projects presented here will introduce you to core embroidery techniques—nurturing a focus, patience and precision that I hope will be as rewarding to you as the finished pieces themselves.”
Embroidery: A Maker’s Guide

Thread has a universality and timelessness to it that makes it a symbolically valuable material. Another artist once described my inclination to start embroidering as a method for entertaining myself in early sobriety as a symbol of doing the work of recovery—I was “bringing light to the darkness, one tiny needle punch at a time.” I love this analogy, and I’m not alone in using thread to heal and to, quite literally, unite. Thread has been a lifeline for the working class for centuries and every culture and generation has found a way to subvert both its utilitarian one-dimensionality and its aristocratic exclusivity (i.e., embroidered embellishments were once reserved for only the primped and powdered aristocrats) and transform the act of stitching by hand into an art form, a storytelling medium, and a connective lifeline between members of a spoken or unspoken community. It makes sense to me that the AIDS Memorial Quilt was a quilt, for example—that needle and thread were the materials they chose for something so representative of both sides of the coin, the joy and celebration of an individual life, a single stitch, a single breath, the sadness and anger tied to the injustice of not “clothing” these brothers and sisters, etc.

Thread is a demarcation of an expedition, each stitch a breadcrumb on the path. The stitches are small, but their size is disproportionate to their meaning. They hold so much in their strands.