There’s nothing traditional about Brooklyn based artist Erin M. Riley’s woven tapestries. Through created on a loom using traditional techniques, her work features explicit in-your-face imagery that is beautiful and at times difficult to look at. Covered here on our blog and in Hi-Fructose Vol. 36, her tapestries take a screenshot of modern life, especially that of women, focusing on difficult images of drug addition, sex acts, violence, trauma, based on what she finds online and in her personal life.
Sparkles, tapestries, sculptures, tampons (she calls them “pussy bullets”), toys, they all find their way into Ebony G. Patterson’s art. The Jamaican multimedia artist has a sobering, even majestic, allure about her over the top combinations of materials. She presents her work in blinged-out installations that pose tough questions about identity and gender within ‘popular black’ culture. Perhaps her work is best described in her own words, a reference to “beauty through the use of the grotesque but visceral, confrontational and deconstructed.” Patterson’s exhibition, “Dead Treez” at Museum of Arts and Design (MAD) in New York, uses the predominately male Jamaican dance hall culture as a way to discuss masculinity.
When you hear the word “tapestry”, you might think of classical, lavish pastoral images dotted with decorative designs. Erin M. Riley is an artist who brings the medium into a new Contemporary context with her insightful portrayals of modern women. Her previous solo exhibition, “Something Previous” (featured here) borrowed inspiration from the internet. In a world where we can share our every thought and most intimate moments, we tend to lose our sense of boundaries. This is a concept that continues to intrigue Riley, which she extends into her current show “Darkness Lies Ahead” at Joshua Liner Gallery in New York.
French artist Frederique Morrel (Vol 28) breathes new life into old taxidermy. She calls it the animals’ revenge, under appreciated as a stuffed head on a wall and reborn as something to be admired. Simultaneously, the dying art of embroidery is made new and contemporary. To Morrel, her sculptures symbolize a reimagining of oppulence, bringing to mind artists Olek and Karley Feaver. Morrel’s concept may sound simple: repurposing vintage tapestry that she collects from second-hand shops and covering animals with it, but it’s not.