INTHEARTS MAGAZINE 2

inthearts

WINTER 2024

VOLUME 2

Anita Cooke

Franziska Warzog

Golnaz Payani

Mariana Porto

Natsuko Hattori

Nonney Oddlokken

Randy Shull

Samantha Ortiz

Scott Andresen

Suzanna Scott

“Strive for the “perfectly imperfect”

in making art, as it embraces the

dichotomy of both our need to envision

an ideal and our acceptance of the often

tumultuous path of the process itself.”

– Anita Cooke

WINTER 2024

MUSEU TÊXTIL

VOLUME #2

COVER: Circuitous Pathways, 2019. Anita Cooke.

from the editor

Exhibition

Jan 13 - Fev 29, 2024

CONTEMPORARY

CHRONICLES

Featured Artists:

Dear Textile Lovers,

Anita Cooke

Carlos Setti

Cathy Jacobs

Kaori Maeyama

Nonney Oddlokken

Nurhan Gokturk

Peter Barnitz

Sara Madandar

Suzanna Scott

Welcome to the captivating realm of contemporary textile art, where

artists break conventional boundaries and create a mesmerizing

tapestry of diverse voices and styles. This magazine edition takes you

on a visionary journey through groundbreaking works that shatter

the limits of textile art, ranging from delicately crafted tapestries to

avant-garde mixed media installations.

Explore the intricate inspirations behind each masterpiece as artists

generously share the profound impact on their artistic identity. The

pages unfold a rich tapestry of styles and techniques, reflecting

the vibrant and ever-evolving landscape of contemporary textile

art. Each creation becomes a unique expression, weaving together

personal experiences, cultural influences, and the creative journeys

of these artists.

In the tradition of storytelling, artists seamlessly incorporate cultural,

historical, or personal narratives into their contemporary pieces.

The artworks become visual narratives, dancing with threads that

intricately interlace stories, traditions, and personal experiences.

Amidst this beauty, the edition prompts contemplation on the

imperative theme of sustainability in contemporary textile art.

Discover the artists’ commitment to eco-conscious practices, from

responsible sourcing to repurposing remnants, highlighting their

dedication to minimizing environmental impact. It’s a harmonious

blend of artistry and responsibility, showcasing the profound

influence artists can have beyond the canvas. As you immerse

yourself in these pages, find not only inspiration but also a deep

appreciation for the intricate world of contemporary textile art.

Let this edition be a catalyst for new perspectives, meaningful

conversations, and a deeper understanding of the stories woven into

each masterpiece. The tapestry of art awaits, inviting you to explore,

reflect, and be inspired.

All rights reserved and protected by Law 9.610 of 02/19/98. Whole or partial reproduction, by any means,

without the prior written authorization of Museu Têxtil is prohibited.

Project:

Museu Têxtil

Cover design, editor and curator:

Rodrigo Franzão

English translation:

Flávio Augusto de Oliveira

FLAVIO DOLCE ART PROJECTS

ART GALLERY

Copyright © Museu Têxtil, New Orleans, 2024

Cover:

Circuitous Pathways, 2019. (Dtl.)

by Anita Cooke.

1157A Eagle St, New Orleans, LA, 70118

T +1 (917) 362 7247 | +1 (504) 296 0589

info@flaviodolce.com

flaviodolce.com

The use of images to compose INTHEARTS Magazine (Winter, 2024 - Number #2 ) has been authorized by the

respective artists for Museu Têxtil through signed consent forms. No image should be used or reproduced from

INTHEARTS Magazine for commercial purposes without the authorization of Museu Têxtil.

INTHEARTS Magazine was edited for Museu Têxtil

by Rodrigo Franzão.

IG: @flaviodolce.artprojects

Printed by Blurb, Inc. in San Francisco, CA, USA.

With warm regards,

Rodrigo Franzão

Editor-in-Chief, InTheArts Magazine

Subscription Information

art@museutextil.com

www.museutextil.com

IG: @museutextil and @intheartsmag

PROUDLY MADE IN NEW ORLEANS, U.S.A.

contents

5

Anita Cooke

9 Franziska Wargoz

13 Golnaz Payani

17

Mariana Porto

21

Natsuko Hattori

29

Nonney Oddlokken

33

Randy Shull

37

Samantha Ortiz

41

Scott Andresen

45

Suzanna Scott

The Essence

of Rebirth and

Resilience

Influenced by the

aftermath of Hurricane

Katrina, Cooke’s artistic

process delves into themes

of order and chaos, creating

artwork that reflects the

human experience through

layers of expression and

diverse inspirations.

ANITA

COOKE

6 INTHEARTS | WINTER 2024

“Strive for the “perfectly

imperfect” in making

art, as it embraces the

dichotomy of both

our need to envision

an ideal and our

acceptance of the often

tumultuous path of the

process itself.”

– Anita Cooke

1. Briefly describe the work you do.

I currently create sculptural textile wall pieces, installation works, collages and drawings. In

my textile pieces, I have discovered many ways of working, primarily with canvas, creating

my own visual language. I begin by painting 5’ x 4’ canvases that lay flat on a worktable,

often painting both sides with many layers of paint. These canvases are then cut or torn

and reconfigured into thick wall relief sculptural works. Sometimes the painted surface

faces outwards towards the viewer, sometimes the edges do; the material is alternately

torn and frayed, folded, cut with sharp clean edges, distressed, monochromatic, colorful,

it is sometimes very smooth and glossy, often highly textured and always layered in some

way. I tend to sew multiple parts, often numbering in the hundreds that are then composed

and assembled to create a complex whole and mounted on a wood or canvas backing. My

installation works address current social, environmental and political issues and are made

using a variety of materials and techniques. In these pieces I have focused on concerns that

express aspects of our vulnerable, fragile, often violent and complex world. While the works

can be perceived as troubling initially, I don’t want the viewer to leave with a sense of despair.

I attempt to incorporate humor, possible solutions to our plight and to instill a sense of hope

and positivity towards the future of our lives and planet.

2. What or who inspires your work and how has that influenced both your

work and your identity as an artist?

There have been so many influences and a myriad of things that have inspired me over the

years visually, intellectually, philosophically, culturally and emotionally, I really don’t know

where to begin! One of the biggest inspirations, however, for me has been the city of New

Orleans itself. Moving here from the Midwest, I was visually in awe and excited by what I saw.

In the part of Ohio where I grew up, so much of the environment was newly constructed- the

surfaces clean and smooth, showing no age. In New Orleans, by contrast, the weathering of

surfaces- the layers upon layers of chipped and peeling paint, the cracked sidewalks, the

sun- faded surfaces, the often-times crumbling facades, all spoke to me about a sense of

place that held its age and its history right up front for all to see and experience. It seemed

somehow more honest to me and that it’s ok to be aware of the effects of the passage of

time and the influence of nature both in its beauty and in its destructive power. What so

often is seen and spoken of negatively as decay, I would rather view as evidence of life that

connects us to the events and people who have passed before us, making their mark on the

world. I believe that we need a sense of connectedness that increases our awareness and

binds us together as humans who share the planet.

3. Making Art traditionally carry cultural, historical, or personal narratives.

How do you incorporate these narratives in your contemporary pieces?

I consider myself to be primarily a process artist, often creating works that are a continuation

and evolution, inspired and motivated by the processes and works that came before them. I

often feel that I am being led by the material itself and don’t necessarily know, when I begin a

work if it will reveal anything in particular or be at all relevant to today’s world. Because of this

uncertainty and the labor-intensive way in which I work, I often tell myself that it is perhaps

ridiculous to be moving forward with a vision that I don’t know what it ‘means’ and in which I

could lose my way. I am urged forward, however by remembering a quote I once read by the

mystic 13th century poet Rumi. The quote is: “Start a huge, foolish project, like Noah… it makes

absolutely no difference what people think of you.” Like Noah!! HA!! I think this is very funny,

and it gives me the permission I need to take the risk and to embrace my own discomfort

with not knowing all the answers at the onset.

4. Do you aim for a particular emotional or sensory experience in audience

interaction with your pieces, considering that textiles or mixed media

artworks can evoke a tactile response?

My goal as a visual artist is to create artworks in which the viewer can become engrossed

and engaged for some period of time- works in which there can be experienced a sense of

visual exploration, meditation or contemplation. In transitioning from being a ceramic artist

into textiles, the tactile and visceral experience continues to be prominent. In some of my

recent social and political installation works, the content may evoke an internal questioning

and examination of our currently troubled and fragile world. In other works such as my more

non- objective sculptural textile wall works, I would like for the viewer to leave feeling perhaps

a bit more light-hearted, hopeful and joyful than they were upon entering the space.

5. Given that textiles and mixed media often generate residuals, how

do you specifically approach sustainability and work to minimize

environmental impact in your artistic practice?

This is a difficult question for me, as it raises issues that concern me greatly but for which I

have not found a good solution. My sewn textile works are constructed with acrylic-painted

canvas and we all know that acrylic paint is not good for our environment. I have found an

ecologically friendly acrylic paint, but it is prohibitively expensive at least for the large- scale

work that I do. I could perhaps use dye, but I never achieve the surfaces that I am looking for.

I have addressed issues concerning the environment in my installation piece titled “Baggage

Claim.”

6. Get inspired!

INSTAGRAM: @a_cookestudio

WEBSITE: anitacooke.com

REPRESENTED BY: Baton Rouge Gallery, Center for Contemporary Art

INTHEARTS | WINTER 2024 7

FRANZISKA

WARZOG

The Playful

Connection of Colors

and Meanings

Discover the

colorful and

organic world of

artist Franziska

Warzog as she

crafts playful and

erotic sculptures

using textile

materials. Dive

into her unique

creations that are

reminiscent of

cult objects but

hold their own free

meaning.


“I perceive art as

an attempt to

condense and

preserve what one

has experienced out

of a deep feeling of

contact. Perhaps

art is an attempt at

recreation.”

– Franziska Warzog

1. Briefly describe the work

you do.

I create textile sculptures mainly out

of used fabrics that are stuffed with

filling material. I also prefer materials

such as wire, wooden beads, acrylic

paints, and various yarns.

2. What or who inspires

your work and how has that

influenced both your work

and your identity as an artist?

I received my most important

inspirations as a small child: There

was a collection of tribal masks

that dominated my parents’ living

room, as well as some sculptures

by Dutch artist Jaap Wagemaker.

Gerrit Rietveld’s geometrically

structured furniture, books on tribal

art, and painting also left important

impressions.

3. Making Art traditionally

carry cultural, historical,

or personal narratives.

How do you incorporate

these narratives in your

contemporary pieces?

I create my sculptures as a mixture

of the art of numerous European

artists under the influence of tribal

art, such as that of the cubists, to

give just one example, and skills

acquired by traditionally female

activities such as tailoring, knitting

and embroidery to create haptic

textiles.

4. Do you aim for a particular

emotional or sensory

experience in audience

interaction with your pieces,

considering that textiles or

mixed media artworks can

evoke a tactile response?

My sculptures can easily be worn

and presented on the body, but they

are not actually designed for that

purpose. However, I am happy, when

viewers want to touch my sculptures

because of their haptic effect.

5. Given that textiles

and mixed media often

generate residuals, how do

you specifically approach

sustainability and work to

minimize environmental

impact in your artistic

practice?

I mainly use natural materials that

decompose easily. Many seams are

done by hand.

By primarily using old materials, I

give them a second, sometimes even

a third life.

6. Get inspired!

INSTAGRAM: @franziska_wzg

WEBSITE: franziska-warzog.de


GOLNAZ

PAYANI

Capturing

the Invisible

Discover how Golnaz

Payani, born in Tehran

during the Iran-Iraq

war, explores the

concept of trauma

through her artwork. By

capturing the invisible

and delving into the

notion of perception,

Payani’s work reflects

her own experiences

of disappearance and

the conflict between

ostensible appearance

and invisible privacy.


“Art is my home,

country and religion.

I strive to weave a

network within it,

where my thoughts,

emotions, and

experiences interlace

with the movement of

the world around me.”

– Golnaz Payani


I am a visual artist who explores various mediums, with a specific focus on

fabric. In creating my artworks, I meticulously unravel the fabric, removing

sections of the weft or warp, utilizing destruction as a tool for creation.

My upbringing was in an environment where the constant threat of sudden

destruction lingered. The possibility of war resuming, a major earthquake,

or the volcanic eruption of Damavand could wipe out everything in Tehran

overnight. Despite these warnings, we were encouraged to pursue education,

attend university, and build our lives. In my artistic practice, I reflect on this

process through the technique of unraveling, symbolizing the marriage of

destruction and construction. Through the method of unweaving, I disrupt

and weaken the smooth surface of the fabric, resulting in more or less

abstract shapes. Additionally, I aim to convey concepts such as the body at

work and the duration of labor through this meticulous process. The theme

that captivates me is the trace. I am passionate about revealing elements

that persist and resist the passage of time. The power of the trace extracts a

moment from the past, making it more visible than anything surrounding us.

This force blurs the line between the present and the past, the visible and the

invisible, the appearance and the disappearance. For this reason, I became

interested in working with fabric. The versatile nature of textiles, capable

of both concealing and revealing, fascinates me. Textiles serve as both a

boundary and a connection, representing us by covering us.

2. What or who inspires your work and how has that

influenced both your work and your identity as an artist?

It’s partly my work at the studio that inspires me. Often, what I had planned

doesn’t unfold as expected. Deleuze stated that “having an idea” is a

celebration for artists; for me, it’s the so-called “happy mistake” that marks

the celebration. It allows me to discover new paths and forms. Stephen

Hawking noted that man is the product of nature’s mistakes. I believe in that

– to create, there must be an element of error, provoking surprise to achieve

something new. My work is also influenced by photos, flea markets, and

real and fictional stories. I am particularly sensitive to films, with Tarkovsky

being the artist who influenced me the most, both through his films and

the atmospheres he creates, as well as his book “Sculpting in Time.” Artists

like Chantal Akerman, Abbas Kiarostami, Bela Tarr, etc., have also left an

impact on me. Moreover, philosophical, psychological, or scientific ideas

introduce me to a new vocabulary and influence my visual language, as

well as enriching my spoken language. Concepts such as the importance of

experience in phenomenology, the resilience concept in psychology, the way

Alzheimer’s patients remember things, or how we “perceive” color allow me

to explore the meaning of “trace” from various perspectives.

3. Making Art traditionally carry cultural, historical, or

personal narratives. How do you incorporate these narratives

in your contemporary pieces?

I was born in 1986, during the Iran-Iraq war. The following years were marked

by the dissemination of lists of missing persons. I remember the buses that

brought back soldiers declared missing, the empty graves, the fragmented

bodies, and the photos and objects that were all that was left of a person—

relics taking the place of a son or a father in a family. These disappearances

took various forms in Iran, affecting not only political figures but also

everyday aspects, imposed by adults’ injunction to silence, forcing children

to keep their daily lives hidden. Celebrations such as birthdays, weddings,

and gatherings took place in secret, away from prying eyes. My childhood

was a constant conflict between ostensible appearance and invisible

private. At 15, I was forced to wear the veil, changing my relationship with

fabric. For someone who loved playing with fabric scraps collected from my

grandmother, they became objects of oppression. Wonderful, tangible, and

multicolored toys turned into a uniform erasing all traits of my personality.

My departure for France in 2009 had a significant influence on my artistic

work. Upon arrival, I found myself alone in a completely new context, far

from family, friends, and everything I had known before. That’s when I felt

like I was the trace of my past life for the first time. I developed an interest in

what was now out of sight, disappeared, and invisible, rekindling my love for

fabric.

4. Do you aim for a particular emotional or sensory

experience in audience interaction with your pieces,

considering that textiles or mixed media artworks can evoke

a tactile response?

My textile works are not meant to be handled, but I never use distancing

barriers, even for my large-scale pieces. I aim to provoke in the spectator

the desire to approach, to look closely, and even the desire to touch them.

This closeness and desire help elevate the question of the body and its

experience. Since, with my works, I aim to evoke manual labor and the

presence of “my body” at work.

5. Given that textiles and mixed media often generate

residuals, how do you specifically approach sustainability

and work to minimize environmental impact in your artistic

practice?

In the work “All That Remains,” soon to be exhibited at my solo show at the

Alexandra David Neel Museum, I showcase all the threads I removed from

the pieces presented in this exhibition. Actually, the theme of “what remains”

and the connection between “destruction and creation” are at the heart

of my work. Not only to raise awareness about “residue and recycling” but

especially to illustrate two crucial concepts for me regarding disappearance

and time. I believe that nothing ever truly disappears, even if it is currently

outside of our sight, invisible to the eye, or even forgotten! I think we infinitely

retain everything we have experienced, seen, and felt. And I believe this

illustrates the circle of time, a more or less repetitive cylindrical movement,

a thought that believes in layers of consciousness and unconsciousness,

accumulating upon each other and transmitted from generation to

generation.

6. Get inspired!

INSTAGRAM: @golnazpayani

WEBSITE: golnazpayani.com


MARIANA

PORTO

A Mythical

Connection

In each artwork, Mariana Porto

delves into a realm of universal

symbols and archetypes.

Her exploration of myth and

spirituality invites viewers to

ponder their own connection

to the world and the ancient

stories that shape our collective

consciousness.


“The field of art for me is a

quite broad territory. This

definition is not very simple. I

believe that with both visual

works and more academic

research, we end up raising

more questions than answers,

perhaps because this field

evolves alongside history and

humanity itself.”

– Mariana Porto


A few years ago, fabric has become the primary support for my work.

Beyond a chromatic study, grounded in research on mineral pigments and

material combinations, my works investigate the boundaries between art

and object, often dealing with a mythical space and languages. Examples

include performances and their documentation in videos and photos, as well

as the occupation of architectural space with textile installations. A shared

and collective authorship also presents itself in works where I make myself

available for listening and collaboration with observer-participants.


influenced both your work and your identity as an artist?

The inspiration and investigative gaze that truly drives my textile work

and research happen in places where these artistic feats merge with

everyday life, the life of places and communities, in the craftsmanship of

popular festivals in Brazil and the Americas. Collective creation, for cultural

elaboration in traditions of clothing, laden with symbolism, colors, vibrancy,

and cultures, establishes an ancestral pillar where culture brings identity in

the form of strength and courage to face the challenges of contemporary

life. My panels and performances seek to access this place, in mythical

roots, in adornments with this symbolism, in research on customs of religions

with African roots. I enhance this by incorporating glass beads and seed

beads into embroidery and sewing in panels with more mathematical

patterns.

3. As you reflect on your artistic journey, could you describe

the evolution of your identity as an artist and how it has

exceeded your initial expectations?

Traditional artistic creation with cultural and historical narratives is, for

me, the major driving force to transform our research and visual work into

a contemporary dialogue as artists. I consider this ancestry, especially in

the textile universe and all its historical dimensions, as a foundation for

contemporary creation.

4. How do you view the significance of your contribution to

contemporary art in a world that is increasingly shaped by

technology?

This search for emotional or sensory experiences does happen, and often

the work and research have this intention. This exchange is crucial within

what I have been pursuing so far, and the result is often surprising and of

great value. A personal observation: I believe that the challenging profession

of a visual artist is greatly enhanced when we also place ourselves in this

position of exchange, with the viewer, the “listener.”

5. How do you see the future of your art and the art world

evolving in the coming years?

Within my artistic practices, the way to achieve results with minimal

environmental impact has been to work with mineral pigments for dyeing

the panels and using discarded fabrics from the textile industry.

6. Get inspired!

INSTAGRAM: @marianaportoart

WEBSITE: marianaporto.com.br


NATSUKO

HATTORI

The Power of

Fabric

Discover why fabric is Natsuko

Hattori’s chosen medium for

her sculptures. Fabric speaks to

people on a deeper level, evoking

emotions of warmth, comfort,

and intimacy. This versatile

material allows her art to resonate

with a wide audience, making

each masterpiece relatable and

accessible.


“To create Art is the act

of having a dialogue with

myself.

Art is like a language that

connects me with people

all over the world.”

– Natsuko Hattori


I’m an artist using fabric. These are soft sculptures, installations, flower

vases, costumes, and video works in collaboration with musicians and

dancers.


influenced both your work and your identity as an

artist?

My work begins with the earthquake and tsunami that occurred in 2011.

At that time, I was already in New York, but my best friend was affected. I

despaired at the tragic scenes on the news every day. And when I thought

about what I would like to make as an artist in the future, I decided that I

would make something that I could make with my own hands that would

make anyone feel happy when they saw it. From that feeling, I changed

the style of my current work. I just want to make something as beautiful as

possible.




I believe that there is already a personal story in the material of cloth. The

reason is that when you see the clothes of your loved ones, the cloth is filled

with many memories of that person, just as you will remember that person.

Cloth is the material that is most familiar to us. Dresses, ties, sweaters,

KIMONO etc., any cloth can be used. By using the cloth of memories to

create a work, the work becomes even more special.




a tactile response?

Yes. I encourage you to try the works at the exhibition. My work is very soft.

The common theme of my work is that it warms the viewer. It is expressed

not only visually, but also through the sense of touch.




practice?

Many of my works are ordered to “make a work using this cloth” It is a

memory of the person in the clothes. Sometimes it’s things like a deceased

partner or a family member. Even precious clothing is often simply thrown

away when it is no longer needed. However, by using the clothing to create a

work, it can be reborn as a new work. From an environmental point of view,

I think it’s very special that something that would just be discarded can be

replaced by a work of art.

6. Get inspired!

INSTAGRAM: @natsuko.hattori

WEBSITE: natsukohattori.net


CONTEMPORARY

CHRONICLES

“Contemporary Chronicles” reveals a dynamic panorama of artistic narratives through the

works of nine visionary artists who transcend conventional boundaries in their exploration of

contemporary themes. This exhibition is a testament to the diverse and innovative approaches

employed by these artists when dealing with the complexities of the present moment. From

abstract expressions challenging perceptions of reality to artworks that conceptually provoke

reflection, each artist brings a unique voice to the exhibition, enriching the contemporary

discussion on the importance of artistic creation. As visitors traverse the gallery space, they will

find a harmonious perspective, shedding light on social changes, personal stories, and the everevolving

dialogue between tradition and modernity.

“Contemporary Chronicles” not only captures the spirit of our time but also anticipates the

potential for artistic evolution. From traditional canvases echoing the timeless strokes of artistic

mastery to digital works that push the boundaries of creativity, the exhibition invites viewers

to foster an immersive experience that reflects the diverse and interconnected nature of our

world. Through this collective journey, the artists urge us to question, reflect, and perhaps

redefine our understanding of the contemporary narrative. By intertwining their distinct

experiences in the “Contemporary Chronicles” exhibition, they invite us to participate in the

exploration of the nuances of stories shaping our collective consciousness.


Featured Artists:

Anita Cooke

Carlos Setti

Cathy Jacobs

Kaori Maeyama

Nonney Oddlokken

Nurhan Gokturk

Peter Barnitz

Sara Madandar

Suzanna Scott



T +1 (917) 362 7247 | +1 (504) 296

0589info@flaviodolce.com

flaviodolce.com



CONTEMPORARY

CHRONICLES

JAN 13 - FEB 29, 2024



T +1 (917) 362 7247 | +1 (504) 296

0589info@flaviodolce.com

flaviodolce.com


NONNEY

ODDLOKKEN

Unveiling Louisiana’s

Unique Narrative

Dive deep into Nonney

Oddlokken’s art pieces that reveal

a larger Louisiana narrative.

Through the fusion of childhood

fables, Catholic references,

Cajun folklore, and New Orleans

Voodoo, Oddlokken brings to life

a world filled with enchantment

and secrets that will leave you

intrigued and mesmerized.


“As artists, we create those

unseen environments that

exist just beyond the

veil of reality.”

– Nonney Oddlokken

1. Briefly describe the work you

do.

I devised a unique fiber art technique. I craft stitched handmade paper

substrates, with stitched collage paper elements, and meticulously

finish each piece with hundreds of yards of hand-stitched gold thread

embellishments. The focus of my creations is the encircled eye,

representing the enchanted people and creatures coexisting in our

world. This technique allows me to weave a unique narrative through

the interplay of materials and symbolism, inviting viewers into a world of

magic and imagination.



artist?

The concept of Death serves as a profound inspiration for my work,

compelling me to approach my craft with unwavering dedication and

fearlessness. As a child, I encountered death in close proximity, and even

in my youth, I grasped the profound understanding that life is fleeting.

This early confrontation with mortality has deeply influenced both my

artistic endeavors and my identity as an artist. It instills in me a sense

of urgency and purpose, urging me to express myself passionately and

authentically in every piece I create. The specter of Death, rather than

evoking fear, becomes a catalyst for a relentless pursuit of creativity and

meaning in my artistic journey.


personal narratives. How do you incorporate these

narratives in your contemporary pieces?

In my artworks, I draw inspiration from the interplay between reality and

fantasy, intentionally blurring the lines. The backdrop is anchored in the

indigenous flora and fauna of Louisiana, entwined with traditional Cajun

and urban folklore, as well as Catholic dogma. Overlaid with childhood

memories, trauma, and secrets, this approach takes me into uncharted

territories, offering a perspective beyond conventional boundaries.

This imaginative journey frees me from the constraints of the real

world, allowing the extraordinary to unfold through the interplay of the

ordinary. In this creative exploration, a unique magic emerges from the

fusion of diverse elements, shaping a narrative that resonates with both

reality and the fantastical.



considering that textiles or mixed media artworks can

evoke a tactile response?

Given that textiles and mixed media artworks can elicit a tactile

response, I am mindful of creating a balance in the intensity of my

narratives. Despite the often intense themes, I work with bright colors

and beautiful imagery to prevent overwhelming the viewer. The

overarching goal is to communicate a sense of joy and hopefulness,

offering a positive emotional experience. In my artistic expression, the

use of hundreds of yards of gold thread serves as a deliberate choice.

This embellishment symbolizes the life force that connects us all. By

incorporating this element, I aim to enhance the sensory experience,

inviting the audience to not only visually appreciate the art but also feel

a connection to a deeper, uplifting energy.



and work to minimize environmental impact in your

artistic practice?

To address the environmental impact of my artistic practice, particularly

considering the residuals generated by textiles and mixed media, I adopt

a sustainability-focused approach. Given that my art is collage-based,

one key strategy is crafting my own paper backgrounds using recycled

materials. This not only reduces waste but also adds an eco- friendly

dimension to my work. Furthermore, I’ve integrated digital ideation into

my creative process. By working out ideas digitally before translating

them into physical pieces, I minimize the need for excessive materials

and reduce my carbon footprint. This shift toward digital exploration

allows me to refine concepts efficiently and make more informed

decisions about the physical components of my artwork, contributing to

a more sustainable and environmentally conscious artistic practice.

6. Get inspired!

INSTAGRAM: @threadpaperglue

WEBSITE: threadpaperglue.com

REPRESENTED BY: Flavio Dolce Art Projects


RANDY

SHULL

Weightlessness

and Color

Experience the sensation

of weightlessness that

hammocks offer. Randy

Shull explores how he

communicates this feeling

through his masterful use

of color and materials,

transforming the ancient Pre-

Hispanic form into abstract

artworks.


For 18 years I have lived and maintained a studio

practice in the Yucatán peninsula of Mexico. The

region is still very connected to Mayan traditions,

including the weaving of hammocks, a centuries

old tradition done at stand-up looms in homes

throughout the peninsula. The hammocks are

used ubiquitously throughout the region to siesta,

to sleep, and to escape the heat. Trained as a

furniture designer, I see the hammock as one of

the most elemental forms of furniture. I use the

hammock as a canvas for abstract paintings and

consider these paintings a collaboration between

experimentation and tradition.

2. What or who inspires your work and

how has that influenced both your work

and your identity as an

artist?

I am interested in the teachings and practices of

the artists and faculty that studied and taught

at Black Mountain College in North Carolina,

where I live part of the year. Specifically, the ideas

of chance that John Cage embraced and the

experimentalism that was the guiding philosophy

of the school. I’m also intrigued by the traditional

methods of making that I find throughout Mexico.

3. Making Art traditionally carry cultural,

historical, or personal narratives. How

do you incorporate these narratives in

your contemporary pieces?

In the current body of work, I’m acknowledging

the traditional Mexican weavers and the

legendary Mexican architect Luis Barragan’s use

of color. Barragan was a pioneering architect

who was instrumental in incorporating modernist

principles that I find relevant and transferable

beyond the scope of architecture.


emotional or sensory experience in

audience interaction with your pieces,

considering that textiles or mixed

media artworks can evoke a tactile

response?

The idea of weightlessness is interesting to me,

because the hammock induces that sensation

when it’s in use. I began thinking about how I

might incorporate that feeling into the work.

I thought a lot about this idea and I looked

to nature as a source. I found the butterfly a

compelling inspiration, not only for its weightless

qualities but for its ability to metamorphosize

throughout its life cycle.

5. Given that textiles and mixed media

often generate residuals, how do you

specifically approach sustainability and

work to minimize environmental impact

in your artistic practice?

I aim to help support the small communities that

produce these hammocks by paying fair market

price for hundreds of hammocks every year that

go into the production of my paintings. In the

near future, I will be introducing a hammock

exchange with the people in these small villages. I

will work with a representative of the community

to exchange new hammocks for old ones of

any condition and make a large painting that

can be displayed in a municipal building in their

community.

6. Get inspired!

INSTAGRAM: @shull_randy

WEBSITE: randyshull.com

REPRESENTED BY: Tracey Morgan Gallery ,

Alejandra Topete Gallery (Mexico City)


“I find irreverence to be

a useful tool.”

– Randy Shull


Embracing the

Divine Feminine

Dive deep into Samantha Ortiz’s

artistic journey as she explores

the divine feminine form in her

mesmerizing artworks. Through a

variety of media, she encapsulates

the power and beauty of the

divine feminine, fostering a sense

of self-healing and empowerment.

SAMANTHA

ORTIZ


“When you get to a certain stage in

your artworks, you realize your selfhealing

power. You no longer follow

the main road, but you build your

own path. Art is that path, showing

you own your beliefs, and your selfhealing

power in every aspect of

your life.”

– Samantha Ortiz


I work with healing through slow fashion and fine arts

interactive installations.

2. What or who inspires your work and how has

that influenced both your work and your identity

as an artist?

My life. My beliefs. My Soul upgrades. Or downgrades. My

work is very much a manifestation of my frequency. What

I’m thinking, what I’m turning into through all the changes/

upgrades in life. These are manifested in every artwork, in the

materials or can say medium I’m in love at the moment. I’m in

constant transformation and so is my work.


historical, or personal narratives. How do

you incorporate these narratives in your

contemporary pieces?

As I was saying, I’m in constant transformation and so is my

work. I was born with Uranus in conjunction with my Sun -

maybe that explains much of my extreme shifts in my art/

Life (gotta Love it!) I started working with oil painting, then

I migrated to work with a technique that mixes Japanese

futons with American quilts. Shifted to slow clothing and

then added fine arts healing interactive installations. Now I’m

starting a new path, instead of using what the market offers,

I’m diving deep into creating/producing fiber, partnering with

meditation. So it’s basically transforming energy. Fascinating!

4. Do you aim for a particular emotional or

sensory experience in audience interaction with

your pieces, considering that textiles or mixed

media artworks can evoke a tactile response?

Yes! Whoever is interested in upgrading themselves, I hope to

be a conduit for them to hear their own voice by my Healing

Interactive Installations. My message, my mission is to spread

Love frequency.

5. Given that textiles and mixed media often

generate residuals, how do you specifically

approach sustainability and work to minimize

environmental impact in your artistic practice?

I’m a plant based artist. Therefore, I use plant based material,

specially in this new work on creating fiber materials for

other artists and myself to be able to use in our creations.

But we cannot ignore that we are surrounded by plastic and

petroleum, and mining products, our cell phones, our cars and

plastic packages in the groceries and shippings all around.

Knowing that every action results in an impact on our Mamma

Gaya, I find the best way I can live is taking good care of the

things we already have so we don’t need to get new ones and

whatever acquisition I’ll need to make is plant based and less

energy loss. I’m aiming towards my higher self, doing my best,

always open to new and better life. For now I find slow living a

good way of living. Love Love Love.

6. Get inspired!

INSTAGRAM: @samanthaortizstudio

WEBSITE: samanthaortizstudio.com

REPRESENTED BY: Flavio Dolce Art Projects


SCOTT

ANDRESEN

The Fragility of

Beauty

In Scott Andresen’s

art, the delicate

intricacies of silk scrim,

a fabric known for

its inherent fragility,

are transformed into

something of immense

strength and beauty

through his work.


My work centers around fragility, repair, and

slowness. After suffering a severe spinal injury

years ago, I used my recuperation and healing as

the blueprint for my art practice. I developed my

artistic process over a handful of years learning

from experimentation, trial, and failure. In my art

I take very fine, translucent, hand woven Margilan

silk from Uzbekistan, hand-dye it, and then

distress the silk creating holes and tears to be

mended later. I then arrange the silk like a painter

would control a single brushstroke composing an

undulating landscape of fine threads. The silk is

then transferred to a canvas where the rips and

tears in the silk are ready to be mended via hand

embroidery. Decorative patterns are designed

and transferred to the canvas and metallic thread

is used to stitch these patterns in the damaged

areas making the fissures whole again while

celebrating the history of repair rather than

hiding it.

2. What or who inspires your work and

how has that influenced both your work

and your identity as an artist?

I am inspired by makers, craftspeople, and

artisans who preserve cultural artistic traditions,

as well as those that push the same traditions

forward. Artists that devote their time to a

process that is challenging, or labor intensive, but

connects them to the past, while also becoming

conduits of knowledge for others going forward

are always the most inspiring artists I meet.


historical, or personal narratives. How

do you incorporate these narratives in

your contemporary pieces?

With an art practice that involves weaving,

mending, embroidery, and decoration, my

artwork lies adjacent to many textile traditions

around the world, and I want to acknowledge

them, I am proud be part of that lineage. Part

of the reason I use abstraction and my own

decorative patterns for embroidery rather than

more specific pictorial elements is because I

don’t want to be seen appropriating from another

culture, while also assuring I leave the final

interpretation of my artworks open for the viewer.


emotional or sensory experience in

audience interaction with your pieces,

considering that textiles or mixed

media artworks can evoke a tactile

response?

I don’t aim for one emotional experience

specifically, but there is a similarity in how

viewers recognize the empathy that is central

to my art. For all the beauty I try to embed in my

work the main inspiration is how to accept and

navigate trauma. You only try to repair that which

is personally valuable to you because mending

something takes much more time and effort

than just replacing it, and there is no assurance

of success. When I talk about my process with

others and share my personal history, trauma,

and the physical and emotional healing I went

through, I will commonly see someone go a

bit quiet and look again, intently, sometimes

with a slight nod or a flash of realization. Those

viewers invariably find a moment to talk to me

privately and they share their own obstacles

and challenges in life that they overcame and

how they did it. Those are the most meaningful

exchanges to me.

5. Given that textiles and mixed media

often generate residuals, how do you

specifically approach sustainability and

work to minimize environmental impact

in your artistic practice?

Since I developed my own artistic practices, I

have greater control over the various elements I

use. I can size the amount of silk needed for each

piece, control the amount of dye to the exact

weight, as well as knowing necessary embroidery

thread required leaving almost no waste during

the creative process.

6. Get inspired!

INSTAGRAM: @scott.andresen

WEBSITE: scott-andresen.com

REPRESENTED BY: Octavia Art Gallery

“Art is about seeing and

feeling the world from a

unique viewpoint, then

taking that unknown and

making it known.”

– Scott Andresen



SUZANNA

SCOTT

A Voice for

the Body

With bound objects, stitched

layers, and sculpted forms,

Suzanna Scott breathes life into

the body, transcending traditional

expressions. Her artwork offers a

fresh perspective on the human

form, illuminating the intricacies

that make us who we are.

“Through my work I explore

forms in and of the body. I

am fascinated by its bulbous

shapes, layers of sinew and

skin, undulating folds, knobby

joints and the constant hum

of discharged thought and

bodily secretions. It is both

sensual and ghastly. It brings us

pleasure and pain. From birth

to death we are captive to the

human form we call our body.”

—Suzanna Scott



Most of my work is three dimensional and constructed with commonplace

materials such as fiber, aluminum foil, wax and found objects. I also tend

to work on a smaller, more intimate scale with individual forms but use

repetition as a way of building emphasis and expressing my ideas. Whether

I’m repeating myself to build up a texture or to create a large installation, the

repetition of stitching or collecting objects keeps me fully engaged in the

process of saying what I’m trying to say.



artist?

Throughout my work I explore forms and themes that revolve around the

human body, whether the physical or psychological aspects of inhabiting

a body. There are so many artists whose works have explored this theme

and who inspire my own work. To name my top five I would have to say;

Eva Hesse, Kiki Smith, Louise Bourgeois, Berlinde De Bruyckere, and Alina

Szapocznikow.




As an artist I find it of utmost importance to stay engaged with current

events. Several series of my work address political and social issues here in

the United States. I find that art can draw people in to look closer and see

these issues in a new light. At the very least I hope to start a conversation and

possibly make the viewer look again.




a tactile response?

I love to walk the line between visual pleasure and disgust. I strive to create

surfaces that beg the viewer to want to touch them.




practice?

The wonderful thing about being an artist is we can always figure out how

to make something new out of almost anything. I save all my scraps in bins

and don’t toss out much of anything. It seems that everything in the studio is

used eventually. Some of my favorite found objects have been discovered on

the side of the road in someone else’s trash pile. I also love to look for items

that have character and a past life at flea markets, thrift shops or eBay.

6. Get inspired!

INSTAGRAM: @suzanna_scott

WEBSITE: suzannascott.com


PUZZLES & GAMES DEPT.

THE TEXTILE CROSSWORD

A CHALLENGING PUZZLE

INTHEARTS MAGAZINE 2

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