Portfolio
CUNY School of Law Pride Banner, 2019 
Nurture, 2020
paper, ink, cotton fabric and thread on linen 18″ x 18″
Leaving the Church, 2019
paper, cardboard, ink 7.5″x10.5″
Grow, 2019
embroidery on antique linen 7.5″x7″
Umbilical, 2018, thread and fabric on screenprinted muslin 12″x12″ 
Fields, 2019
watercolor on screenprinted Japanese paper 8″x12″
Pride, 2018
thread on screenprinted paper 11″x14″
Synesthesia Sampler, in progress, embroidery on linen 
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″
untitled, 2009 charcoal and ink wash on paper 15″x22″ 
Glass Ceiling, 2010
woodcut print 22″x30″
Soft TV, 2008
felt, teflon fabric, printed paper 7″x16″x22″
Florida Blister Beetle, 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 identifiers. Handicraft is important as an identifier to every culture, but is mostly invisible in our Capitalist value system and digital world. Using traditional craft techniques in my work is part of my resistance to their devaluation and to the exploitation and dehumanization of the working poor that are characteristic of consumer Capitalism. Handicraft can also be a communal experience, and therefore a rich opportunity for building community.
Emily
