Time is a Place solo exhibition at Delaplaine Arts Center of Frederick, Maryland.
“Jones’s work in this exhibition focuses on the accrual of thread in woven cloth and its metaphorical and actual connection to time and place. All of the textiles in the exhibition have been made with reciprocity with the land in mind, from the cultivaiton of the plants for dyeing to the utilization of a foot-powered loom.”
All this work is about time. The time it takes the plants to grow the color or the fiber. The time it takes for me to harvest and prepare. The time it takes for me to notice something new. The time it takes to weave a cloth.
Photography by Marie Machin
Handwoven cotton from the Johnson Woolen Mills, VT, handspun hemp by the late Joanna Crosby, sparkles, and time.
This body of work is an exploration in text and textiles from the same root word, texere, Latin for to weave. Organizing the conjunction of figures into motifs within a framework, is the final stage of symbolic imagery before it becomes writing, which may or may not include letters but which reports spoken language either in ideographic or some other form. Wanting to be site-specific to the library, I plan to use the childhood rhyme of “The Itsy Bitsy Spider,” but code the text through weaving on my floor loom to abstract the visuals of the textile.
Featured at the Kellogg-Hubbard Library of Montpelier, Vermont.
My work highlights our dependence on nature and restoring a relationship with the land through seasonal, land-based crafts of natural dyeing and handwoven artistry. I aim for a continual practice of ethically foraging & cultivating plants from the land for dye, slowly weaving a web by hand on a foot- powered floor loom, and making with all second-hand, recycled, or scrap natural fibers. This work explores connections with the land through colors derived from place for dye. I am connecting woven threads of organic intelligence into new worlds and webs. I believe anything can be a thread and every thread tells a story.
Photos by Marie Machin
Handwoven merino wool and mohair drapery/net with handwoven film photo weavings from my travels to different residencies tied in bows of ribbon throughout, almost like a giant memory board from girlhood. The wall is roughly 30 feet wide. 2023.
Photos by Marie Machin
Handwoven second-hand wool, sparkles, cotton, and time. 8 X 1 yards. 2023.
Text and textile come from the same root word, texere, Latin for to weave. This body of work is an exploration in this connection. Organizing the conjunction of figures into motifs within a framework, is the final stage of symbolic imagery before it becomes writing. This may or may not include letters but reports spoken language either in ideographic or some other form.
Featured in my solo show Texere at the Arbutus Branch Library of Arbutus, Maryland in 2023.
Lovelyarns of Hampden Baltimore presents Weaving Season. Part of my submission for the relaunch of Terrain Exhibitions Art-in-Place 2022.
“Radical softness as a boundless form of resistance." - via GenderFail, an imperfect publishing platform that looks at various forms of failure.
This work explores connections with the land through colors derived from place for dye and connecting woven threads. My work is concerned with restoring a relationship and connection with the land through a seasonal, land-based craft.
Featured in the Fall Seasonal window display at Lovelyarns of Baltimore, MD in 2022, and in Terrain Exhibitions Art-in-Place, 2022 in Chicago, IL and beyond.
Site-specific weaving installation for the Juried Hand Crafted Exhibition at the Black Rock Arts Center, 2022
As my process of continual weaving is so intriguing and relevant, I was invited by Gallery Director, Rula B Jones of the Black Rock Arts Center, to create a site-specific installation where the crafting of my work would be the object. I set up my floor loom in the gallery with a weaving already in-progress and returned every other week for live weaving performances.
Handwoven second-hand Egyptian cotton naturally dyed over an open fire using wild, foraged colors of Sable land in rural Vermont, truly known as Abenaki territory.
The audience was guided through the hoop house full of fruiting tomatoes and underneath the naturally dyed weavings hanging by clothes pins during our final showcase, Water in the Wood. August 2021.
Photos by Claire.
Culmination of all the wonderfully, wild new weavings I have made over the Spring and Summer of 2019, natural dyeing and weaving at Penland School of Craft and Lazuli Residency. I believe time is place. As a way to weave places we want to remember, PENELOPE is where we meet in my wild and wonderful world of weaving!
Photos by Kim Peters at Rump Gallery.
In 2018, I was awarded the Anderson Space-Grant for two months to house one of my 40” inch floor looms and create a weaving on-site performance as a way to communicate, through motion, that weaving can fill space. I think seeing a loom in action is a magical experience; in fact, the loom is what made me want to learn how to weave in the first place! I made a new body of work showing textiles are more than just flat objects. They can take up and push out into space, maximizing a room full of texture. Curated by Erin Cross.
Photos by Porcelyn Headen.
