American artist Mary Mazziotti uses hand embroidery to ‘encourage the viewer to be mindful of the ephemeral nature of life and human endeavors’. Her latest work has moved into Resistance Art with her series ‘Needling the Regime’. 

Where are you from and where do you work?

I’m from Pittsburgh in the USA and am currently working out of a space in our house. Alas I recently lost my large, light and airy studio as our funky old neighborhood has fallen prey to gentrification. Working at home has its advantages (no rent), but I much prefer having a studio that’s separate from my home life. I like having a place to “go to”.

What is your background in textiles?

None, really, a least as far as any formal training goes. I came to my art career late in life after a long profession as a writer/creative director in advertising. As an artist I mainly worked in acrylics, but after a number of years arthritis caused me some mobility problems and moving large paintings around became an issue. I’d always enjoyed hand-embroidery but definitely considered it a “hobby craft”. Then I saw all the exciting work that was being done in contemporary textiles and got enthusiastic about working in that medium.

Do you only use hand embroidery or do you use machine embroidery or ever quilt?

I’m strictly a hand-embroiderer. Even the hems of my pieces are hand sewn. 

How do you describe your work? 

I make memento mori (“remember you will die”) primarily in hand-embroidery. The intent of the work is to encourage the viewer to be mindful of the ephemeral nature of life and human endeavors. Contemporary approaches are necessary to connect with today’s viewers who often find the traditional symbols of Death remind them more of Halloween than their own mortality.Notwithstanding the seriousness of the subject I try to infuse the message with more wit than morbidity.

Since 2017 I have also segued into Resistance Art in response to the current  Regime.

How do you work?

I don’t know that I have a strict method. Some concepts come fully blown, others need to be teased out. I use a lot of text in my work, so I’m often on-line searching for the right quotation or motto. I use a projector as a drawing aid, to get the images and text onto my fabric. Once all that is done it’s a matter of hours and hours of hand-sewing. That’s not a complaint; it’s the part of the process I enjoy most.

I know it’s a hard question but how long does one of your larger pieces take from conception to completion? 

My largest piece “Broken Armadillo Triptych” is 8 feet x 23 feet. I hand-embroidered over 300 nine inch squares and roughly pieced them together. That work took about 6 months. But during that time I was also conceptualising my next projects. 

What advice do you have for aspiring textile artists?

Keep an eye on what’s being done in the contemporary fiber arts field. So much exciting, ground-breaking art is being made. That said, take a look at historical work and the textile art of other cultures.  It will inspire you. Career-wise, enter as many competitions as you can afford, time and money-wise. You want your work to be seen.

What is your career highlight so far?  

I’ve had two major shows, one at the San Jose Quilt and Textile Museum and another at the Louise Hopkins Underwood Center for the Arts in Lubbock, Texas, a remarkable facility that pulls huge crowds. 

www.mazziottiart.com