Sarah Maloney
"My work is about identity and how it is constructed within and without the individual"
Corpus, Exhibition view
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Circulatory System
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Circulatory System – detail
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Skeletal System
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Skeletal System – detail
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Major Organs
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Major Organs – detail
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Vertebrae, Sacrum, Coccyx
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Vertebrae, Sacrum, Coccyx – detail
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Brain
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
.
Brain – detail
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Brain – detail
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Feet
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Feet – detail
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Hearts
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Hearts – detail
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Knitted Arms, Shoe Forms, Gloves
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Knitted Arms – detail
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Shoe Forms
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
Gloves
My work recreates parts of the human body using various techniques in fibre. Knitting, crocheting, embroidery, quilting, petit point and needle point have all become media I use to render human anatomy. Many, many stitches created with needles make up a whole piece, much like the cells within our own bodies, tiny parts of the whole.
My use of these materials and processes allows for an examination of how traditional handwork, so called “women’s work” is seen. We live in a society that still expects women to be primary caregivers within families, and as such women are socialized for a more nurturing role. Much of the work they do is socially and culturally invisible and for that reason is often undervalued. Women’s handwork has also been undervalued, seen as decorative, utilitarian or both.
The first wave of feminist artists who introduced “women’s work” into art galleries paved the way for artists of my generation to fully explore the possibilities of textiles as a fine art medium, moving handwork out of the domestic sphere and making it visible in the larger culture.
