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برچسب: Sarah

  • Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities — Colossal

    Architectural Textiles by Sarah Zapata Explore Material Culture and Intersecting Identities — Colossal


    In vibrant patchworks of woven patterns and fuzzy fiber ends, Sarah Zapata’s sculptures (previously) emerge as wall-hung tapestries, standalone pieces, and forest-like installations. Through the convergence of architectural structures, soft textiles, and myriad patterns and textures, her site-specific works examine the nature of layered identities shaped by her Peruvian heritage, queerness, her Evangelical upbringing in South Texas, and her current home in New York.

    Zapata balances time-honored craft practices with contemporary applications, highlighting the significance of Indigenous Peruvian weaving, for example, as a means of communication. Symbols and patterns composed into cloth traditionally provided a means of sharing knowledge and cosmological beliefs.

    an installation view of a gallery with a leaning textile column-like sculpture, with the walls painted in wide orange and red stripes
    Installation view of ‘Beneath the Breath of the Sun’ (2024) at ASU Art Museum, Tempe, Arizona. Commissioned by CALA Alliance

    In abstract sculptures that often merge with their surroundings, Zapata incorporates unexpected and vibrant color combinations with woven fabrics and tufted textures. Resisting easy categorization, her pieces are neither functional nor purely decorative, although they play with facets of both.

    Zapata consciously holds back from creating work that is too “beautiful,” inviting a remarkable, tactile exploration of relationships between craft, lineage, community, and memory.

    Some of the works shown here are included in Support Structures at Sargent’s Daughters, which continues through through May 3. Find more on Zapata’s website and Instagram.

    a gallery wall with a large, draping textile with numerous colors and textures, which extends onto the floor
    “How often they move between the planets” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches
    a detail of a large, draping textile with numerous colors, patterns, and textures
    Detail of “How often they move between the planets”
    a colorful, abstract textile sculpture with different textures, primarily a tall rectangle with a sac-like shape on top
    “Part of the tension (from earthen pits) I” (2024), handwoven cloth, natural and synthetic fiber, and hand coiled rope, 49 x 14 x 14 inches
    an installation view of a gallery with numerous textile column-like sculptures with the walls painted in wide black and gray stripes
    Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni
    a gallery wall with a large, draping textile with numerous colors and textures, which extends onto the floor
    “Towards and ominous time III” (2022), handwoven cloth, natural and synthetic fiber, 144 x 60 inches
    an installation view of a gallery with numerous textile column-like sculptures with the walls painted in wide black and gray stripes
    Installation view of ‘To strange ground and high places,’ Galleria Poggiali, Milan. Photo by Michele Alberto Sereni
    a detail of a textile sculpture showing numerous textures and colors with many fiber ends
    Detail of “Part of the tension (from earthen pits) II”





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  • Giving The Secrets Away | Sarah Gromek

    Giving The Secrets Away | Sarah Gromek


    Podcast: Play in new window | Download

    Sarah Gromek | Episode 1112

    Sarah Gromek is a high school jewelry & metalworking teacher. Sarah started ceramics eight years ago and now has her own small business. Sarah’s studio is in her dining room and she sells her work online and through galleries.

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    Do you hold any secrets back from what you post on Instagram or teaching classes?

    I don’t. I have a lot of friends who think I should but I have said this multiple times, I am a teacher first before that and so art has been a savior to me and as I have tried to pick up information and learn more things I only learned through community studios and I never felt like there was enough information for me. So I feel like I could have grown faster if more people were willing to give the information.

    So you don’t feel threatened that your work could be imitated?

    I am sure there will be. I have had people be afraid for me. But I am not the first to do it either. There are people before me who have done much, much crazier  leather looking work than I have.

    Why are you open to sharing your secrets? Why as a teacher does that feel like something you should be doing?

    That’s a really good question. I don’t have a direct answer other than that’s just the core of me as a person. Ever since I was young I always wanted to help and to support and so I think that had a lot to do with the fact that growing up I was dyslexic so my art teachers were my savior because I wasn’t good in other classes. So I want to provide that for others.

    It is tempting when you start out to copy. How should people, from your perspective, use your instructions or your revelations?

    Put your spin on it. Everyone is different , right and we all have different experiences. I actually did have a kid who reached out to me on Instagram and said, Hey I want to do stuff like this are you oaky with me using these tools and doing this? And I said, Go for it! Try and see what you end up with. And he is using the same roller and applicator pen as I am and he’s doing stitching and he through in a whole different aspect to it with same stamping and some more of a western vibe and  he made it his own, even through in essence it was something I was doing.

    Have you gone back and encouraged him by commenting on his work?

    Yes. I gave him some feedback. I commented on a couple of his pieces. He’s a college student and I do it for a lot of people and for those people that take my hand building class.

    You are a busy person, how are you finding time to actually make your work?

    I don’t. (laughter) I should do it much more than I am. But I just do it on weekends, after school, and I am really fortunate in the fact that my studio is at my dining table at my house. So any free movement I get I can just sit down at my table and get something done.

    Book

    The Shepherd King Series by Rachel Gillig 

    Contact

    sarahcatherineclay.com

    Instagram: @sarahcatherineclay



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