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Ariadne Unraveling

Samantha Bittman, Liz Collins, Hannah Epstein, Desire Moheb-Zandi Sophia Narrett, Arna Óttarsdóttir, Katarina Riesing, and Rachel Mica Weiss

May 23 - June 29, 2019

Sophia Narrett, Heart, 2018

Sophia Narrett

Heart, 2018

Embroidery thread and fabric

25h x 7.50w in
63.50h x 19.05w cm

Narrett_002

Sophia Narrett, Ask Again, 2018

Sophia Narrett

Ask Again, 2018

Embroidery thread, fabric, aluminum

33h x 16w in
83.82h x 40.64w cm

Narrett_001

Samantha Bittman, Untitled, 2019

Samantha Bittman

Untitled, 2019

Acrylic on handwoven textile

30h x 24w in
76.20h x 60.96w cm

Bittman_001

Samantha Bittman, Untitled, 2019

Samantha Bittman

Untitled, 2019

Acrylic on handwoven textile

30h x 24w in
76.20h x 60.96w cm

Bittman_002

Liz Collins, Satisfaction, 2019

Liz Collins

Satisfaction, 2019

Acrylic on canvas with yarn

Dimensions variable

Collins_001

Arna Óttarsdóttir, Pink Collage (What Can I Do Anyway), 2017

Arna Óttarsdóttir

Pink Collage (What Can I Do Anyway), 2017

Wool, cotton, linen

64h x 47w in
162.56h x 119.38w cm

Ottarsdottir_001

Arna Óttarsdóttir, Shopping List, 2018

Arna Óttarsdóttir

Shopping List, 2018

Cotton, wool, acrylic

34h x 35w in
86.36h x 88.90w cm

Ottarsdottir_002

Hannah Epstein, Slice Its Head and Eat Its Soul, 2018

Hannah Epstein

Slice Its Head and Eat Its Soul, 2018

Wool, acrylic, polyester and burlap

89h x 37w in
226.06h x 93.98w cm

Epstein_002

Hannah Epstein, Triple Blob Bob, 2019

Hannah Epstein

Triple Blob Bob, 2019

Wool, acrylic, polyester, nylon and burlap

36h x 100w in
91.44h x 254w cm

Epstein_001

Hannah Epstein, Melting Girl, 2017

Hannah Epstein

Melting Girl, 2017

Acrylic and burlap

47h x 38w in
119.38h x 96.52w cm

Epstein_003

Katarina Riesing, Striped Skirt, 2019

Katarina Riesing

Striped Skirt, 2019

Dye and embroidery on raw silk

19h x 18w in
48.26h x 45.72w cm

Riesing_003

Katarina Riesing, OK, 2018

Katarina Riesing

OK, 2018

Dye, embroidery, and puff paint on raw silk

20h x 16.50w in
50.80h x 41.91w cm

Riesing_001

Rachel Mica Weiss, Two-Paned Scaffolding, 2019

Rachel Mica Weiss

Two-Paned Scaffolding, 2019

Tencel yarn, maple

148h x 59w x 55d in
375.92h x 149.86w x 139.70d cm

Weiss_001

Desire Moheb-Zandi, River, 2019

Desire Moheb-Zandi

River, 2019

Paper, monofilament, cotton, neoprene, foam, PVC, rope, wool, cyberlox, raw silk, felted wool, paint

56h x 48w x 5d in
142.24h x 121.92w x 12.70d cm

Moheb-Zandi_001

Desire Moheb-Zandi, Maze, 2019

Desire Moheb-Zandi

Maze, 2019

Paper, cotton, silk, linen, roving wool, wire, polyfil, nylon, rope, wood, paint, cord

90h x 41w x 11d in
228.60h x 104.14w x 27.94d cm

Moheb-Zandi_002

Press Release

Asya Geisberg Gallery is proud to present "Ariadne Unraveling", an exhibition of eight artists who work with weaving, tapestry, yarn and thread: Samantha Bittman, Liz Collins, Hannah Epstein, Desire Moheb-Zandi, Sophia Narrett, Arna Óttarsdóttir, Katarina Riesing, and Rachel Mica Weiss.  Their work both deconstructs the woven medium and pushes it towards a multi-media approach, be it painting, sculpture, drawing, or installation.  

Samantha Bittman uses weaving as both a medium and a subject, working within the limitations set by a 12-harness floor loom. Bittman is inspired by the history of weaving technology, and how, despite major leaps in innovation, including the full automation of looms, the basic over-under interlacements of the warp and weft has never changed.

Liz Collins employs a range of materials and incorporates vivid palettes and dynamic patterning to create work that straddles the divides between the functional, the decorative, and the expressive. Her projects vary in scale, from the object-based to the immersive and architectural. Consistently intermingling fashion, furniture, and objects with woven thread or yarn, Collins has created a multi-disciplinary ecosystem where yarn reigns.

Hannah Epstein blurs the lines between folk craft, popular culture and contemporary art. As a trained folklorist, Epstein advocates for a deeper understanding of storytelling and its crucial role in the construction of reality. Her work aims to turn passive voyeurs into active players through themes of "play".

Desire Moheb-Zandi forged her personal and cultural identity through hours spent watching her grandmother weave in her childhood home in Turkey. Since relocating to the U.S., Moheb-Zandi has expanded the language of her weavings by mining countless sculptural possibilities, and combining found materials such as plastic and rubber with traditional modes of textile fabrication.

With a mixture of vulnerability and satire, Sophia Narrett sews together sexual narratives, combining images gleaned from the Internet and reality TV with her own memories and fantasies. The narratives explore the social implications of images, the collective unconscious, and the freedom and restraints of femininity.

Moving away from the geometric patchwork of traditional patterns, Arna Óttarsdóttir creates loose compositions of intentional and haphazard edits. The imagery is derived from drawings, doodles, and small notes from her sketchbooks, where she does not select the final motif based on refined finish, but rather on the possibility of future exploration. The textiles are made without batting or backing, giving the viewer insight into moments of resistance to a predestined outcome on the loom.

Working with dye, embroidery, and silk, Katarina Riesing fragments the human body in humorous and awkward ways. Close-ups of lingerie and sexualized body parts feel deeply personal, even as the figures may be unidentifiable. Her small paintings confront with individually painted hairs and moles, while the painstaking embroidery adds a subtle decoration.

The site-specific sculptural installation by Rachel Mica Weiss addresses the window and architecture of the gallery through careful use of scale, and diaphanous light-scattering. The installation uses the basic process of warping--measuring and tensioning hundreds of warp threads--and the basic structure of a loom--vertical threads stretched across two wooden bars. Viewers are allowed to feel a visceral awareness of their own comparatively diminished scale as they confront the work.