Sarah Hewitt

SHewitt_KindredBeast SHewitt_Bambi HeShe SHewitt_TrojanWhore_Test SHewitt_HerNew

Work1 Title: Kindred Beast Year: 2014 Material: Crocheted, stitched, stuffed, carved and constructed acrylic yarn, mattress stuffing, fabric remnants, twine, styrofoam, wood and clay Dimensions: H 73 W 53 D 20 Work2 Title: Bambi Year: 2014 Material: Oil pigments, latex paint, marks-o-lot, charcoal on mylar Dimensions: H 80 W 36 D Work3 Title: He/She Year: 2013 Material: Stitched and woven fabric, wicker, twine, yarn, string, joint compound, poly fil, carved dowels, tent stake Dimensions: H 71 W 20.5 D 15 Work4 Title: Trojan Whore Year: 2013 Material: Stitched, stuffed and woven fabric remnants, cotton futon batting, joint compound, paints, twine, wood Dimensions: H 49 W 40 D 19 Work5 Title: Her Year: 2013 Material: Stitched and woven velvet remnants, muslin, burlap, sisal twine, cords, poly fill, carved dowel Dimensions: H 49 W 17 D 11.5

Statement:

Material cast-offs-gold Mylar streamers, hair extensions, yarns, trimmings and fabric remnants hang off the walls, waiting to be fashioned into forms. Images ripped from their sources are haphazardly hung throughout the space to constantly remind me of my focus, influences and kindred spirits. Donna Haraway’s “Cyborg Manifesto,” a portrait of Alina Szapocznikow, Travis Jeppensen’s writings about the Venus of Willendorf and much more travel with me as my studio changes locations. A variety of artists and subjects grab my attention. Annette Messager, Paul Thek, criticism by Ann Cvetkovich, Robert Farris Thompson’s Flash of the Spirit, and third-wave Feminist rhetoric all influence my thoughts, my work and movements. Every day I ask myself to drop any hesitancy and have the courage to grab the meat hook.

I wander about the studio stitching, cinching, unraveling and revealing different layers of materials. Weave, unweave, stuff, carve, suture and skin over with wax, clay, tar, cement, whatever raw materials I can find and manage with my hands. The chapters of my life unfold in my work. A six-foot tall beast currently dominates my studio. Its size forces my visitors to the edges of the space, but its presence and tactile quality tempt them to touch, pet and explore the form with their hands.

While under most circumstances I am unable to speak of my desire to beguile, confuse and deceive, dominate and supplicate often with aggression and sexuality  but it is in the forefront of my mind. My hands do not resist these contradictions but thoroughly embrace them, relish in them. When my hands are working, the truth of my thoughts sneaks around my reluctance and begs the materials to be bold, to hold court, to challenge and suggest. The work is braver than I am.

Resume:

2014
• Suspension Point, Richard and Dolly Maass Gallery, Purchase College, Purchase, NY; curated by Faye Hirsch
• The Right Amount of Wrong, ISE Cultural Foundation, New York, NY; curated by Lovina Purple
• Focus: Fiber 2014, Erie Art Museum, Erie, PA

2013
• Congregation, 106 Green, Brooklyn, NY; curated by Sheila Pepe
• Corey Daniels Gallery, Wells, Maine
• 44N 69W: Radius Belfast, Aarhus Gallery, Belfast, Maine
• Heart, Aarhus Gallery, Belfast, Maine

2012
• Fiber Philadelphia 2012, Crane Arts, Philadelphia, PA
• Inaugural 40 Under 40, Northwestern State University, Natchitoches, LA

2011
• Quimby Colony, Artist Residency, Portland, ME
• Teaching Assistant, Penland School of Crafts, Penland, NC
• Teaching Assistant, Haystack Mountain School of Crafts, Deer Isle. ME
• SOFA West Installation on Museum Hill of the LOVE ARMOR Project, Santa Fe, NM
• Vermont Studio Center, Artist Residency, Johnson, VT

2010
• New Fibers 2010, Eastern Michigan University, Ypsilanti, MI
• Unraveling Traditions: Contemporary Artists Working in Fiber, 516 ARTS, Albuquerque, NM
• Lost & Found, Victoria Price Art & Design, Santa Fe, NM
• Subversive Stitching: Feminist Artists with a Needle, Through the Flower, Belen, NM

2009
• Earth’s Palette, Wilder Nightingale Fine Art, Taos, NM
• LOVE ARMOR PROJECT, Brenda Taylor Gallery, New York, NY
• National Fiber Directions Exhibition 2009, Wichita, KS
• LOVE ARMOR PROJECT, Crane Arts, Ice Box Project Space, Philadelphia, PA

2008
• Conventions & Attitudes: Responding to the 2008 U.S. Elections, Habeas Lounge, CUNY Graduate Center Art Gallery, NYC, NY
• Conventions & Attitudes: Responding to the 2008 U.S. Elections, Remy’s On Temple, Los Angeles, CA
• Engendered Spaces, SCA Contemporary, Albuquerque, NM
• LOVE ARMOR PROJECT, Center for Contemporary Arts, Santa Fe, NM
• Talking Heads, Seven – O – Seven Contemporary, Santa Fe, NM
• The Cradle Project, Albuquerque, NM
• Salon MarGraff, Tesuque, NM

Place: Dobbs Ferry, NY

Contact: sarah@sarahhewitt.com

Website: http://www.sarahhewitt.com