Joetta maue biography of martin

Often I will hang the linens in my studio for weeks or even months before I know what it wants to say. In process Asleep, , hand embroidered, painted, and appliqued re-appropriated linen, 67 x 47", dimensions vary in installation. Once I have decided on the text I use a water soluble marker to write the text out. Then I start the slow task of embroidering.

Wash, iron, and hang. I generally do not frame my works as once I put them behind glass they become more like an artifact and lose their vulnerability. My image based work, usually starts with the image. Noticing it while I am living it, getting my camera and capturing it. Then I have the task of finding the right linen for the image. I usually try to relate the role of the linen in domestic space and the action of the image.

For instance an image of my husband sleeping might be embroidered onto a vintage pillow case. Once the linen is found I enlarge the image through various techniques, trace a contour drawing of the image onto the linen and the begin to embroider. Sometimes, I add elements of fabric and applique into the drawing, sometimes I paint the image once the embroidery is finished.

All of this is done very intuitively and often without a plan, by simply responding to the lines of the drawing, my materials in the studio, and my hands. What is the most interesting comment about your embroidery drawings you have heard from a viewer? Since, I have a very popular blog , that discusses my work I have had many comments on it.

Rarely, but occasionally people are offended by the work as I use very intimate language, acknowledge the existence of sexuality, and use cuss words.

Joetta maue biography of martin

In with you , , hand embroidered re-appropriated linen, 36 x 32" Image courtesy of Joetta Maue Fuck , , hand embroidered re-appropriated linen, 11 x 11" Image courtesy of Joetta Maue This generally amuses me and makes me feel like my work is successful in generating emotion. Otherwise, many people have commented very positively- most specially on how much they relate to the vulnerability in the work and technique.

Are you currently showing your embroidery drawings? If yes, when and where, and what can the viewers expect to see in this exhibit? Little Boy Sleep, , hand embroidered and painted re-appropriated linen. Waking with You , is an exhibition that features my work dealing with the place and subject of the bed. Touch , , hand embroidered re-appropriated linens, 50 x 22 x 17".

Image courtesy of Joetta Maue The work displayed is mostly from my image based embroideries but also includes a full wall of text and photographs from my online project waking with you. Waking with you , online project, Image courtesy of Joetta Maue The blog project waking with you was a daily documentation of my bed immediately after I work up and text pertaining to the immediate emotions of my morning.

You can see the project in its entirety at WakingWithYou. Image courtesy of Joetta Maue The bed is a very important space and subject in my work as it is a powerful and meaningful place within our lives, most of us are born in a bed, have our most vulnerable and intimate times in a bed, and most of us die there. As a result, I utilize the bed as place and metaphor in my work often.

Since I am most interested in exploring the emotions and experiences of intimacy, the bed is a natural subject for me. This work is a culmination of projects done in the last 2 years that explore this. Image courtesy of Joetta Maue The center piece of the exhibition will be a bed size installation titled, Waking with You , of a large scale embroidery piece that for the first time combines my embroidered autobiographical text and images together on one linen.

This piece was made specifically for the exhibit and is an exciting new direction in scale and sculptural quality that I am moving towards as an artist. Image courtesy of Joetta Maue The exhibit is a quiet and vulnerable installation exploring love and the potential loss of love. The opening reception has been scheduled for Friday, January 8, from 5pm to 7pm.

All are welcome. For additional information about this exhibition, please visit website. I also have work displayed as part of the exhibit C onnective Thread , a fiber exhibit that I curated currently on view at Sweet Lorraine Gallery in Brooklyn, New York. How have you handled the business side of being an artist? Joetta at work. Image courtesy of Joetta Maue I work everyday at it.

The gestural and loose quality that the drawing had did not lend itself to the vocabulary of stitches that I had been relying on previously. I also was concerned that, since the thread was thicker, some stitch choices would not work. I ended up doing the piece with the couching stitch as it has the ability to be more gestural and expressive, as well as not complicating the thicker thread.

I also chose to leave the ripped raw edge of the pillowcase unfinished; there was something more open in the work with it this way. I really wanted the work to feel light and relaxed and warm, so I needed to avoid formal choices that might overly contain the work. Once all these decisions are made, I stitch. I work intuitively deciding on thread count adjustments, line adjustments and drawing shifts.

Always referring to the source image but also the emotion the source image captures as well as brings out in me. While working for hours on the stitching I often listen to podcasts, a favorite is On Being and various poetry readings and artist interviews. Occasionally I listen to music, and often I just sit with my thoughts and stitch. Slowly, stitch by stitch the work comes into being.

This piece was washed and hung, as all my pieces are, once completed. The wrinkles that formed in its drying added so much visually to the sense of a rumpled bed, tired body, soft breath and the essence of skin touching one another, that I ultimately left it unironed. The piece was primarily made in my studio, which is a large open space in a foam factory in Somerville, MA.

It also traveled with me to Penland in NC where I do their winter residency; this is where I actually finished the stitching. It was then hung as part of my exhibition that was installed the first week of March The work sat in a silent, quiet, dark space for roughly five months before I was able to retrieve it — mostly unseen.

Due to the lack of in-person exhibitions, I have chosen to limit my exhibiting until they resume. So my piece sits gently rolled in my studio waiting to be seen again — very much like myself. For more information visit www. Joetta has delved deep into her thoughts and intuitive process. What touched you most from her description? Please let us know in the comments below.

For I had seen that image so many times of my two younger sons, a year apart in age, when they would always get into each others bed to sleep. They are now older with homes of their own, one to be married in two weeks, and the other in four months, but that bond is still there and they are the best of friends. Your work is beautiful Joetta, and what a wonderful way to capture that moment in time.

I look forward to trying to do the same. Sometimes the way I work, what is in my head instead of on paper. Yes, I too like to just and stitch with my thoughts. How amazing!! Thank you! She is a Lecturer and an invited instructor at a number of programs and institutions across the country. For a complete CV click here. This is the crux of her work…The commonality and drama of human experience is there for us all to see if we choose to take the time to observe.

Absent of people, their presence is felt everywhere. Join Us. About Us. The Brea Gallery is a contemporary art space in Southern California that presents four major exhibitions a year. Joetta Maue. Joetta's Website. Joetta lives in New England with her family.