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Annmarie Suglio currently lives in Madison, Wisconsin and is an MFA candidate in Studio Art at University Of Wisconsin. She is a graduate of the Cleveland Institute of Art earning her Bachelor in Fine Arts degrees in Fiber + Material Studies and Sculpture in 2015. After graduation, Suglio took on many curatorial roles: from 2015-2018 she was curator of The Sunroom, exhibiting artists who explore and experiment in a domestic space, and from 2015-2019 was Gallery Director of Praxis Fiber Workshop, a non-profit organization designed to revitalize the field of Fiber Art in Cleveland, Ohio. In 2018, Annmarie was Administrative Assistant for FRONT International, Cleveland's first art triennial in Cleveland. She has shown work mostly in Cleveland, Ohio at Zygote Press Inc., Forum Artspace at the 78th Studios, and at the Reinberger Gallery. Photo by: Amber Ford |
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Artist Statement
In a time where there is so much uncertainty, conflict, and impermanence, I long for moments and places that once gave me a profoundly blissful and grounded feeling. In my work, I use lines that preserve these experiences, either through the warp and the weft meeting to make cloth, or through pixels to create an image. In woven structures, a space can be constructed to experience an important place or moment, again.
Photography is integral to my practice: I use it to document, to reference, and to preserve memories. I photograph domestic spaces and scenic landscapes that hold both awe-inspiring beauty, and times of cherished experiences. Within each composition, I seek to capture a feeling of stillness: big snowflakes falling in a mountainous landscape, a person running barefoot over mounds of sand with no one in sight, or the gesture of a hand on someone’s leg. When the photographs are presented as a series, they create mental fragments of a particular event, in inexact locations.
By contrast, my weavings are specific and personal. Each title references a place known to me and possibly familiar to the viewer. I create pictorial montages that are compositionally distorted and scaled illogically in order to reference the mind’s frequent inaccuracies. Consequently, they become fantastical spaces, where the past and present exist together. These works require me to examine personal archives that fulfills a nostalgic moment I am seeking.
I use the tradition of weaving as visual storytelling. When weaving the past into the present, that includes people who have passed away, I metaphorically equate weaving to creating new life. I am also interested in the relationship between myself and the loom and its meditative qualities. Through the passage of time, and the rhythm of repetition, the weaving process creates a state of reverie that I seek to emulate in my work.
Through my photography, and through the visual hapticity of my weaving’s scale, texture, and color, I hope to offer the viewer an interlude.
Photography is integral to my practice: I use it to document, to reference, and to preserve memories. I photograph domestic spaces and scenic landscapes that hold both awe-inspiring beauty, and times of cherished experiences. Within each composition, I seek to capture a feeling of stillness: big snowflakes falling in a mountainous landscape, a person running barefoot over mounds of sand with no one in sight, or the gesture of a hand on someone’s leg. When the photographs are presented as a series, they create mental fragments of a particular event, in inexact locations.
By contrast, my weavings are specific and personal. Each title references a place known to me and possibly familiar to the viewer. I create pictorial montages that are compositionally distorted and scaled illogically in order to reference the mind’s frequent inaccuracies. Consequently, they become fantastical spaces, where the past and present exist together. These works require me to examine personal archives that fulfills a nostalgic moment I am seeking.
I use the tradition of weaving as visual storytelling. When weaving the past into the present, that includes people who have passed away, I metaphorically equate weaving to creating new life. I am also interested in the relationship between myself and the loom and its meditative qualities. Through the passage of time, and the rhythm of repetition, the weaving process creates a state of reverie that I seek to emulate in my work.
Through my photography, and through the visual hapticity of my weaving’s scale, texture, and color, I hope to offer the viewer an interlude.
