American quilter Fuzzy Mall resides in Canada where he creates dynamic art quilts. Using a mix of fabrics and brightly coloured threads he updates the traditional portrait   giving it a contemporary edge while using time-honoured quilting skills. “My intention is to reinterpret fleeting imagery by slowing down the process and hand working it.”

Firstly where did you grow up and where do you live now?

I was born and raised in Pittsburgh, Pennsylvania (USA).  After university, my now wife and I moved to a small college town in rural Missouri, where she ran a ceramics program.  After a decade, we moved back to Pittsburgh.  Five years ago, an opportunity opened up for her in Canada and we relocated to Hamilton, Ontario, which is about an hour outside of Toronto (my wife’s hometown).   

Where did your name Fuzzy come from?

If you have ever seen a picture of me, you’ll notice a big beard.  It’s been located on my face since college.  My ceramics professor, Kirk Mangus coined the nickname.  Kirk was a tremendous artist, influence, and friend.  He passed away in 2013.  For years only my wife called me Fuzzy, but when we moved to Canada, I decided that I wanted to honour Kirk, and use the name full time.  I miss him dearly.

What is your background in textiles? 

I went to school at Kent State University, where I graduated with an Art Education degree with an art history minor.  Essentially that meant that I only took the very basic studio classes (none in textiles), so I consider myself to be self-taught.  I’ve only been exclusively working in textiles for the last five years.  Prior to that, I had been primarily painting.

What is it about quilting as an art form that appeals to you?

I prefer the tactile nature of the media, over that of paint.  I’ve found that the nature of working with textiles forces me to slow down and be more deliberate with every bit of fabric that I piece. 

How do you describe your work?

My work in portraiture is interaction driven.  I get to know my subject by taking candid photos and studying their unique body language, focusing on the person in mid-motion.  I capture the raised eyebrows, crooked smiles, and waving hands that we all use to communicate.  This is a response to the deluge of Instagram and Facebook images currently flooding our daily lives. My intention is to reinterpret fleeting imagery by slowing down the process and hand working it, slowly creating a permanent object from an image that we are accustomed to seeing swiped away by a finger. Ephemeral moments disappear unless made permanent in some way. My goal is to tap into the tradition of quilts and painted portraits as family heirlooms by creating contemporary portraits from these casual photographs that are snapped by cell phones, often live in the cloud, and usually disappear.

How do you create a piece?

I always use photos that I take as my source material.  I then create a drawing, based on the photo, that I treat as a legend to place my fabric and fuse it to a base layer.  After spending weeks using a combination of applique and reverse applique techniques, I sew every edge with a solid satin stitch.

Where do you work?

I work in a studio space in my basement.  Actually, I’ve always worked, by myself in a basement.  I’m so messy that that’s probably for the best.  I need to work in chaos, I feel that my weakest pieces are the ones done right after I clean up; maybe that’s just an excuse.

I know this is a hard question but how long does a bigger piece take?

My smaller portrait commissions tend to take between 35 -50 hours.  This past series of full-bodied portraits have ranged from 150 to 300 hours to complete.  It really varies based on the size, and what the subject is wearing.

Do you think quilting is gaining in popularity and if so why?

I truly don’t know the answer to this.  I’ve only really been connected to any quilting scene for a few years.  We have a fairly large SAQA (Studio Art Quilter Associates) group in Ontario that I’m involved with, but I believe I’m the youngest of our members.  Much of my Instagram community are younger textile artists, but not necessarily quilters.  I do see a youth movement in all crafts and embroidery in particular. 

What are you most proud of in your art career so far?

Generally speaking, I try to be proudest of the last work that I’ve finished.  I’m always pushing what I do, and chose my photos to give me a new challenge to work on.  I’ve won some awards and gotten into a few big shows (after years of rejection emails), but I have so many goals in front of me that I don’t have time to focus on the few things that I’ve achieved.  I don’t mean that to sound arrogant or unappreciative, because that’s not the case at all.  I’m just wired to move forward, and I’m excited for what’s next.

Do you have any advice for aspiring textile artists?

I tell my daughter that the two things that you can control in life are how you treat people and your work ethic.  I think that that can apply for artists as well.  Work hard, be professional, kind, and people will want to continue working with you.

Where can people purchase or see your work?

I installed a show just yesterday, as all of Ontario moved to a ‘stay at home’ order, so unfortunately no one will see it in person.  The gallery will be hosting it virtually at www.carnegiegallery.org throughout April.  Typically, Instagram is the best way to follow along with what I’m working on as well as contacting me for private commissions.

www.instagram.com/quiltedportrait/

www.quiltedportrait.net