So, when my best friend sees something she really likes–something she desires in a visceral way–she says she wants to put it in her mouth. This could be anything but it is usually something inanimate, something that you would not really eat, but that you want to “devour” in some way. I love that this is her reaction and I know exactly what she means. For me, the qualities of lusciousness also call into question ideas of decadence, the baroque, luxury, consumption, preciousness and many other concepts that seem related but are not necessarily so. The following address these topics in one way or another while creating objects that I would describe as exquisite (and, maybe…, edible).



Lauren Fensterstock, Grey Garden (2003; quilled paper; 20 x 25 in.)



Caroline GoreSugarcoat from the Beauty: Poison series (1 ounce of 24K gold, coated with sugar, arranged in a hanging installation)



Green Planks (2007, cast sugar, polyurethane, 78 x 3/4″ x varying widths)


Rebcecca Holland, Glaze (2003; 800 square feet of poured candy)



Jolynn Krystosek, detail (two above) and Verdure Series, Untitled 7 (2007; wax; 13 x 19 in.)





Roberley Bell, Flower Blob #64. (2005; cast foam with dyed plastic and flocking; 16 1/2 x 18 x 7 in.)


Tara Strickstein (detail of installation)


Shary Boyle Snowball (2006; porcelain and china paint; Collection of the Musée des beaux-arts de Montréal)



I like the action suggested by the statement “by a thread.” Of course, without a verb, it also suggests something surreal–as if the thread itself was animate. And in a way, thread is active for a time–put in motion as it is drawn through the fibers. Thread always feels “alive” to me and I think this is partly due to the way it reflects a certain kind of labor and human presence. Embroidery and stitching, similar to other handcrafts, have been readdressed in recent years, with a coterie of artists reinvigorating the conversation and using the technique not only for its tactile or visual appeal but also as a way to touch on issues of labor, gender, handcraft, consumerism, notions of the decorative, time, individual and collective memory and personal history. This has happened all the while those who may have embroidered as a “pastime” continue to do so, creating an interesting dialogue across groups of people who have not always been engaged. Whether or not an artist learned how to embroider or stitch in their youth is always an interesting question–personal experience through several exhibitions would suggest that many (but not all) are indeed drawing on earlier memories or techniques learned (whether specifically embroidery or not). The following are just a few of those working the needle in some interesting and thought-provoking directions…(sorry there are not details for all, trust that these are as luscious as you think they might be.)



Anna Lorich, Embroidered Pillow Rings (Cloth, thread and cotton)


Recyled Ring’s Edith Cameo Brooch on Etsy



Angelo Filomeno, My Love Sings When the Flower is Near (The Philosopher and the Woman), (2007, Embroidery on silk shantung stretched over linen with crystals; 150 x 90 in.)





Stacey Lee Webber, Fancywork (one dollar bills and thread)





Yu-Chun Chen




Xiang Yang, Here and There




Reddish Studio, X-table (wood and thread)