"Your Couch/Your Birthday/The Night We Met" by Prisma Andrade
MX Dye on Muslin, stitched with a cotton batting
4'6" by 3'
$450
I am interested in themes of the body, and textile naturally calls onto this in a manner painting cannot, with touch and wearability. By creating textile work that is meant to be touched, I aim to create spaces, objects, and wearable forms that facilitate comfort and a tactile experience. Through exploring different fiber mediums, I have discovered my own process to be queer in nature and function as a form of projection: I do onto my body of work what I cannot do onto my own. With deconstruction and reconstruction as key themes, I explore a queer need to take apart the body and rebuild it to be better suited for my identity.
I explore this theme in my piecework assemblages and soft sculpture creatures by taking a ‘physical body’ or full piece of fabric, cutting it up, and reassembling it. As a material, dye holds a strong conceptual meaning in my work. Dye can undergo many transformations of color, it takes time to process, and it is not a surface level application as it changes the structure of the fabric itself. These traits are reflective of the queer experience, one of transformation and evolution. To combine the skills I have learned as a painter with the interaction of textile work, I have begun experimenting with dye as paint and dye as print. When dye is mixed with urea water it acts like watercolor and when it is mixed with sodium alginate it acts like a paste. Through engaging in these processes, I create a connection between the material and the personal.
MX Dye on Muslin, stitched with a cotton batting
4'6" by 3'
$450
I am interested in themes of the body, and textile naturally calls onto this in a manner painting cannot, with touch and wearability. By creating textile work that is meant to be touched, I aim to create spaces, objects, and wearable forms that facilitate comfort and a tactile experience. Through exploring different fiber mediums, I have discovered my own process to be queer in nature and function as a form of projection: I do onto my body of work what I cannot do onto my own. With deconstruction and reconstruction as key themes, I explore a queer need to take apart the body and rebuild it to be better suited for my identity.
I explore this theme in my piecework assemblages and soft sculpture creatures by taking a ‘physical body’ or full piece of fabric, cutting it up, and reassembling it. As a material, dye holds a strong conceptual meaning in my work. Dye can undergo many transformations of color, it takes time to process, and it is not a surface level application as it changes the structure of the fabric itself. These traits are reflective of the queer experience, one of transformation and evolution. To combine the skills I have learned as a painter with the interaction of textile work, I have begun experimenting with dye as paint and dye as print. When dye is mixed with urea water it acts like watercolor and when it is mixed with sodium alginate it acts like a paste. Through engaging in these processes, I create a connection between the material and the personal.
MX Dye on Muslin, stitched with a cotton batting
4'6" by 3'
$450
I am interested in themes of the body, and textile naturally calls onto this in a manner painting cannot, with touch and wearability. By creating textile work that is meant to be touched, I aim to create spaces, objects, and wearable forms that facilitate comfort and a tactile experience. Through exploring different fiber mediums, I have discovered my own process to be queer in nature and function as a form of projection: I do onto my body of work what I cannot do onto my own. With deconstruction and reconstruction as key themes, I explore a queer need to take apart the body and rebuild it to be better suited for my identity.
I explore this theme in my piecework assemblages and soft sculpture creatures by taking a ‘physical body’ or full piece of fabric, cutting it up, and reassembling it. As a material, dye holds a strong conceptual meaning in my work. Dye can undergo many transformations of color, it takes time to process, and it is not a surface level application as it changes the structure of the fabric itself. These traits are reflective of the queer experience, one of transformation and evolution. To combine the skills I have learned as a painter with the interaction of textile work, I have begun experimenting with dye as paint and dye as print. When dye is mixed with urea water it acts like watercolor and when it is mixed with sodium alginate it acts like a paste. Through engaging in these processes, I create a connection between the material and the personal.