Collective Mending

Brandt-Roberts Galleries is pleased to present Collective Mending, a group exhibition featuring an array of Ohio-based artists working within, or drawing upon the realm of fiber and textile art. Representing immensely rich cultural and historical significance, textile art has been referred to as a universal language. It is an artistic dimension that can be both visually striking and utilitarian, expressed in many forms, from patchwork tapestries, to woven pony beads, to tufted rugs. The participating artists build on sustainable and diverse practices, implementing the ability to upcycle materials such as unwanted garments, lean on nature for influence, and make informed decisions on material choices. 

Textile art is widely considered to be one of the most ancient art forms. Anthropologists estimate its origins to be approximately 120,000 years ago. This includes artifacts made from fibers derived from animal skins, furs, leaves, and even insects. Though textiles have widely been considered solely for their utility, many cultures, both ancient and contemporary, have also employed fiber art to weave cultural narratives, establish hierarchies, display political affiliation or resistance, as well as to express style and creativity. In doing so, both the tangible skills associated with textile creation and decoration and the intangible stories of a culture are passed onto the next generation. The styles and types of textile art created in any period has been shaped by a myriad of factors such as fashion, innovation and availability of materials. The elements of social, cultural and technological change have consistently impacted the appearance, design and production of textile art.

Throughout history, textile works were rarely ever recognized as artistic agents or subjects, although they were often the objects of art. For decades fiber and textile arts weren't considered significant within the arts industry. The ingenuity of women with cloth, threads, and yarn was relegated instead to mere menial labor. Decorative arts like knitting or embroidery were regarded as practical pastimes, and its proximity to femininity and domesticity contributed to it being disregarded and undervalued. To be considered fine art, a creation had to be the result of a particular artistic intent that aimed for aesthetic pleasure and was created for public display; women’s textiles were instead seen as primarily functional objects that were confined to the private and domestic spheres, thus not meeting the standards required to be considered fine art. 

Accessible and familiar, fiber handicrafts have long provided a source of inspiration for women. Through their critique of the exclusion of fiber arts from the status of fine art, the feminist movements of the 60’s and 70’s were instrumental in championing it into estimation. Similar to written texts, textiles can relay information, record and influence how stories are told, and history unfolds. In the present times, textile art enables artists to explore social narratives and nuances such as gender, politics and intimacy in their works. The artists in this exhibition express themselves in the form of woven tapestries, beaded and embroidered ornamentation, twisted and bound sculptures, and multi-media assemblages. Each artwork carries the story of its maker, and also revolutionizes its import to contemporary art. These exhibiting artists include Andrea Myers, Brianna Gluszak, Akeylah Imani Wellington, Celeste Malvar-Stewart, Julie Abijanac, and Char Norman. 

…..  is on view from Wednesday, September 4th through October 2nd, during gallery hours, Wednesday- Friday from 11-5pm, Saturday- Sunday from 1-5pm, and by private appointment. There will be an opportunity to meet the exhibiting artists from 5-7:30pm on Wednesday, September 4th.  To request additional information, please email info@brandtrobertsgalleries.com or call 614.223.1655.