Portfolio
CUNY School of Law Pride Banner, 2019 
Leaving the Church, 2019
paper, cardboard, ink 7.5″x10.5″
Growth, 2019
embroidery on antique linen 7.5″x7″
Mi Despedacito de Casa, 2019
thread, lint, leather on screenprinted paper 11″x14″
Umbilical, 2018 thread and fabric on screenprinted muslin 12″x12″ 
Fields, 2019
watercolor on screenprinted Japanese paper 8″x12″
Rainbow Kites, 2018
thread on screenprinted paper 11″x14″
Synesthesia Sampler, embroidery on linen, in progress 
Use and Discard, 2014
safety pins on antique linen 8″x14.5″
Paper Tree, 2010 charcoal, ink and flame on paper 6″x14.5″ 
Liz & Cecil, 2019
charcoal on paper collage 9″x11″
Tears, 2012 Specimen 01 paper and mascara, Specimen 02 metal
6″ x 8″ wood blocks
J.P., 2010 charcoal on paper 4.75″x7″ 
Hong Kong Man, 2010
charcoal and pencil 4.5″x7″
Steve, 2010 charcoal and ink wash on paper 15″x18.5″ 
Phantom, 2009 charcoal and ink wash on paper 15″x22″ 
Ceiling, 2010
woodcut print 22″x30″
Soft TV, 2008
felt, teflon fabric, printed paper 7″x16″x22″
Still Life, 2006
charcoal on paper 18″x24″
Bicho, 1989
pastel on paper 12.5″x19″
About
As a Brooklyn-based Artist with a background in apparel samplemaking and costume building, I’m interested in exploring those things that connect us communally, whether it is a space, structure or visual statement. Embracing handicraft that is traditionally performed by women and historically undervalued, such as stitching and embroidery, is vital to me as a Feminist. Handicraft is important as an identifier to every culture but is mostly invisible in our Capitalist value system and digital world. Using these traditional techniques is part of my resistance to their devaluation and to the exploitation and dehumanization of women and makers that are characteristic of consumer Capitalism. Women’s handicraft is also typically a communal experience, and therefore can be a rich opportunity to build community.
Emily
