"I consider myself an innovative problem solver, which is so important for any artist. If you shut down every time you hit a bump in the creative journey, you’d never get to the next intersection."
Interview with Alicia Ross
How did you get the idea for creating your artwork?
As a child, what did you want to become (profession-wise)?
When I was a child I would change what I wanted to be every time someone would ask me – mostly because concluding to be one thing sounded so boring. I’m still trying to decide what I ‘want to be when I grow up.’
In which town did you grow up? Medina, Ohio, 30 minutes South of Cleveland.
What inspires you in the job of being an artist?
I’ve always felt a guttural need to create. I’m not sure where it comes from, but I always come back to the creative process even if the medium varies.
In which way do you consider yourself an innovative creator?
I consider myself an innovative problem solver, which is so important for any artist. If you shut down every time you hit a bump in the creative journey, you’d never get to the next intersection.
What do you consider as your masterpiece(s) you created?
I like different pieces for different reasons. I don’t think I’ve come close to creating a ‘masterpiece’ yet. I’m not sure I could even define that word.
Do you have any other creative ambitions or dreams to which you aspire?
Yes, I have always set goals for my work. In the last 10 years, I have achieved the goals I set in place, and now am working hard to reach the next set.
Working in fiber came about when I became disillusioned with the limitations of traditional photography. I have always been interested, in sewing and how it relates to feminine identity and so I began exploring embroidery as an output for my photographic images. Thus, my work evolved from pixels to stitches, yet both media continue to inform the other.
My subject matter has definitely gone from a more literal interpretation of women’s work and objectification to observing a more complex world of female and social identity. The Phrenology Studies series speaks to this media-created genre of women whose roles are twisted beyond a simple binary opposition. I think my work has evolved to reflect this complexity in the female identity.
Are you ever afraid you will run out of inspiration and creativity in your job?
Yes, I continually have thoughts like ‘will this be the last thing I ever make?’ Somehow, thank God, I haven’t run out of ideas yet.
What is the most difficult thing in your job?
I would say the most difficult part of working in embroidery is to stay persistent and patient. Some days I dread coming into the studio — it’s a far cry from photography, which is much more immediate. However, while digital imaging might be more immediate, I really enjoy the results I can achieve, and the satisfaction I get creating a physical object — something I use to crave.
The responses to my work over the years have run the gamut from disgust to appreciation. Overall, most people are respectfully engaged with it — whether it is the technique or the aesthetic. I have enjoyed working in fiber because the medium often transcends the subject matter to a point of identifying with a wider audience.