In Tate Modern’s present collection display screen – positioned beside a wall surface of Guerrilla Girls’ posters and a interlocutor Barbara Kruger – is a relenten of a bathroom. A woman’s legs stretch to the end of the bath; children’s toys room dotted around; there’s a glass that red wine to one side and also an iPad propped up on the other, showing an episode of Game that Thrones. The scene feels at as soon as intimate and also ephemeral. Its edge slightly frayed, the occupational is a an individual story of motherhood – mundane and magical.

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Date Night is a “silk painting” by 48-year-old, Malawi-born billy Zangewa. Explained as “One the Africa’s Most carefully Watched Artists”, she joined Lehmann Maupin gallery in may 2020 through a solo present in brand-new York that witnessed her prices jump by 25 per cent. This autumn, she will certainly open further shows in London and also Seoul – wherein prices for her occupational will range from $75,000 to $150,000 – and at the Museum the the african Diaspora in san Francisco.

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Date Night, 2017, by billie Zangewa © Courtesy billie Zangewa and also Lehmann Maupin, new York, Hong Kong, Seoul and also London

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Body and Soul, 2021, by billy Zangewa © Courtesy billie Zangewa and also Lehmann Maupin, new York, Hong Kong, Seoul and also London
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Soldier of Love, 2020, by billie Zangewa © Courtesy billy Zangewa and Lehmann Maupin, new York, Hong Kong, Seoul and London“When I first started out, world were like, ‘Oh, she’s handy through a needle’ and also I was just put in the area of crarebab.net, of a woman’s pastime,” she states from her house in Johannesburg. The an are doubles as her studio, and is where works such as 2018’s Vision the Love and 2020’s Heart of the Home to be created. Return it was argued she switch to cotton together a stronger fabric, she prefers to work-related with silk: “I like delicate and also sensitive, that’s that I am. I don’t think I’ll ever before be cotton. And also I don’t want to be.” Re-establishing the power of textiles is fundamental: “I’m in charge of my own narrative and also that’s a very an effective statement, to say the I’m a black woman and also I’m in charge of my stories and how ns tell them.”

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Zangewa in she Johannesburg studio © Carole Desbois. Courtesy billie Zangewa and Lehmann Maupin, new York, Hong Kong, Seoul and London

I’m in charge of my stories and also how i tell them

Billie Zangewa

Zangewa’s rise has actually dovetailed v a growing recognition because that fabric-based piece as fine art. In ~ Artsy, purchases of textile works rose 48 every cent from 2019 come 2020, when a wide spectrum of fabric-based endeavours – from the modernist weavings of Anni Albers and also Sophie Taeuber-Arp, to the fibre sculptures that 87-year-old Sheila Hicks and also the quilts that Alabama’s Gee’s bending Quilters cumulative – have been the topic of high-profile shows. Hicks also features in the Whitney’s current survey show, Making Knowing: Crarebab.net in Art, 1950-2019, which positions 1960s textile arts alongside the occupational of contemporary artists.

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Tschabalala self in she studio © Christian DeFonte

“Using textiles is not just about an aesthetic, it’s something the furthers my conceptual concerns in regard to exactly how identities are constructed, about how a body is just a patchwork that experiences, a patchwork that projected ideas,” states 31-year-old, new York- and new Haven-based Tschabalala Self. “What’s amazing for me around textiles is the they are of the world.” her figurative, mixed-media photos – making use of fabrics and also stitching and painting and also print-making – very first made tide in 2016, when prominent art dealer and also curator Jeffrey Deitch featured three of her artworks in ~ Art Basel Miami.

Since the show, self has delighted in a residency at The Studio Museum in Harlem, solo shows from London to Shanghai and also gallery depiction by Pilar Corrias and Eva Presenhuber. Out the Body (2015), illustrating two woman figures, was offered by Christie’s in 2019 because that £371,250 – over five times that is high calculation – when Princess (2017) fetched £435,000 in ~ Phillips critical year.

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Lady, 2019, Tschabalala me © Courtesy of Tschabalala Self/Pilar Corrias, London
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Out of Body, 2015, by Tschabalala me © Courtesy the Tschabalala Self/Pilar Corrias, London

“I at first thought to usage sewing since my mommy sewed. It’s a way to elevate she memory,” says Self of she inspiration. “My favourite pieces usually begin with me just pulling from my scrap piles, sewing piece of fabric along with no direction in mind till something starts come form. Component of a face, the neck, and then from over there I flourish the figure an ext and more, little bit by bit.” Her striking, mostly female figures orebab.neten have actually abstracted or exaggerated functions – much has been written about the huge bottoms. “My occupational is deeply linked to concerns approximately my identity politics and my love for the black color body,” she continues.

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German-Ghanaian textile artist Zohra Opoku © Nii Odzenma/Courtesy the Mariane Ibrahim

Another textile artist that the african diaspora, 45-year-old Zohra Opoku has had works got by London’s Tate modern and the Los Angeles county Museum of Art. “Working with textiles is quite a feminine space,” says the Accra-based, German-Ghanaian artist, who began sewing apparel for her dolls at age five, produced whole wardrobes because that herself as a teenager and studied fashion design before falling in love v screen-printing. “I to be doing a residency in ~ the january van Eyck Academie in Maastricht as soon as I began printing a collection of photographic portraits. I printed one top top fabric and also I was like, ‘That’s it.’”

The photos of people, sometimes herself, are orebab.neten stitched into, sometimes hanging in it s not long installations. “They are likewise a tiny bit layered,” she says. “And large, so that civilization get soaked emotionally right into the work.” Textiles recur together the subject matter too, orebab.neten looking in ~ Ghanaian dress codes. “I look at how apparel define culture, in ~ how various materials have language and background – whether it is the veil the a woman or a kente pave of a man.” Her greatly monochrome aesthetic has recently given means to a more colourful body of work, i m sorry is right now included in Mariane Ibrahim’s group display at her new Paris gallery space.

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I have Power over My Heart, 2020, through Zohra Opoku © Nii Odzenma/Courtesy the Mariane Ibrahim
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I have My Mouth come Speak, 2020, by Zohra Opoku © Nii Odzenma/Courtesy of Mariane Ibrahim

The result of colour is instantaneous in the work of 32-year-old Diedrick Brackens, the Texan-born, LA-based artist whose textiles play with a color pension of hand-dyed hues – well-off purple, dusky ochre, shocking pink. At as soon as graphic and painterly, castle are motivated by west african kente weavings, 15th-century europe tapestries and quilts of the American South, v the mystical and also folkloric threaded right into scenes that often tend to center on silhouetted male figures.

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“I absolutely want civilization to uncover them beautiful, however they’re likewise redefining what ability is,” claims Brackens, who has recently modelled a Gucci poncho in the pages of VMan magazine and also welcomed Rihanna right into his studio. He happily straddles the realms of fine art and crarebab.net, having been awarded The Studio Museum in Harlem’s Wein prize and likewise voted the American Crarebab.net Council emerging Voices Artist; next January he will certainly be displayed at the Crarebab.net contemporary museum in Los Angeles. “I feel favor I belonging in both camps,” that says.

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Flying Geese, 2020, by Diedrick Brackens © Courtesy Diedrick Brackens/Jack Shainman Gallery
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Taste Honey for Nerves, 2021, through Diedrick Brackens © Courtesy Diedrick Brackens/Jack Shainman Gallery

Using crarebab.net mediums have the right to be a successful means to ask human being to think about a deeper story. “I think that by the time people are overwhelmed by the sentimentality, it’s too late for them to escape the messages that are present in the work,” that says. “That push and also pull is just one of textile’s many successful aspects. Ns think that there is sugar and then a trap…” In his series blessed space the mosquitoes, the “trap” is come talk about the disproportionate rate of HIV infection in black and also Latino men; in bitter attendance, drown jubilee (2018), it’s the story of 3 black boys who drowned in police custody.

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Texan-born, LA-based artist Diedrick Brackens © Alex Fodor-Lee

“Diedrick’s nuanced pieces check out the intricacy of identity, every while engaging allegorically with American history,” says gallerist Jack Shainman, who newly showed (and swirebab.netly sold) eight brand-new weavings in his brand-new York space. “You can feel his intention and hand throughout his entire artistic procedure – from the spinning, dying, and also weaving of cotton, to the means he inserts himself into some the the work.”

In a conversation v writer Danez Smith, Brackens claimed he is interested in “creating a mood”, giving the viewer functions without “a wall surface label the tells them wherein I’m from and what this symbols might all mean”. When he posted about his new York display online, that accompanied an image of his work-related a season without gravity through lines the his very own poetry. That is a reminder the while there might be a linguistic link in between “text” and also “textile”, the story interlaced in modern-day textiles are seldom linear.


“It’s about one individual gift a amount of countless parts,” states Self. “Through honestly investigating your own life, your very own fears and also desires, you are able to discover something that everyone deserve to identify with. It’s about finding other unifying.”