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| "Lynn Peril" from Home as Hat |
"I don't do fashion. I am fashion." —Coco Chanel
The history of fiber art and its implications for women is a fascinating subject in and of itself. As I sat stitching this picture I couldn't help but wonder home many times this repetitive but decorative act had taken place over the years. Both my grandmother and my mother had taught me how to sew as a young child, and I remember how excited I felt to stitch two pieces of fabric together. Its alchemy was intoxicating. Yet my younger brother was never taught the magical art of sewing and I never questioned why my male counterpart was not introduced to it.
Fiber art has long been viewed as representing domesticity and feminine nature. It has been a vehicle for women to express themselves in the confines of a male dominated social structure but it has also a means of commerce and power. The manufacturing of cloth created an economic force for women in ancient times and became a way to do business outside the confines of the home.
Feminist art began to restructure the way in which we viewed fiber art as "woman's work". I have always been fascinated with Judy Chicago's installation "The Dinner Party", where she focused on and elevated the history of women in Wester Civilzaton. Combining domestic objects and fiber art, Chicago began a life long narrative championing woman's rights to "engage is the highest levels of art production" (judychicago.com) I have been enjoying site specific public installations of "yarn bombing" on the streets here in Los Angeles. Crocheting light posts and bike racks brings the notion of domestic fiber arts into the streets and engages our senses.
Fiber arts are still a vehicle in which to challenge preconceived ideas of feminism and a way for us artist to reconstruct the narrative of our creations. "Home as Hat" is my connection to the fiber arts and a vehicle for me to explore the notions of feminism through fashion.
A stitch in time saves nine,
Julie Green
March 12, 2016
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