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Lamentations For Rebecca, Vintage lace silk thread hand-dyed with cochineal cast plaster, 126x180x2, 2020

Patricia Miranda

patricia miranda, artist feature, execute magazine 4
Dreaming Awake, Vintage Italian nightdress dyed with cochineal insect dye, cast plaster, thread, 48x30x10, 2020
patricia miranda, artist feature, execute magazine 2
Lamentations For Rebecca, Vintage lace silk thread hand-dyed with cochineal cast plaster, 126x180x2, 2020
patricia miranda, artist feature, execute magazine 5
Dyed Battenberg Lace doilies zip-ties cast plaster,72x48, 2020

Artist Feature – Patricia Miranda

“My work is interdisciplinary installation, textile, paper and books. Textiles are vintage linens from my Italian and Irish grandmothers and sourced from friends and strangers from around the country. Each donation is photographed and integrated into the story of the work. I am interested in textile as a form that wraps our bodies from cradle to grave, and the role of lacemaking in the lives of women historically. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to my artistic investigations.

The work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. I forage for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, I incorporate hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium; I am listener as much as maker.

The use of textile is an ecofeminist framework for creating monumental works with a small environmental and physical footprint. The materials are repurposed and bio-degradable, the works are adaptable, lightweight, structurally strong, and portable. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor and use. Mournful and solastalgic, they are lamentations to the ongoing violence against women and the earth. I conspire with the material world in an act of fury and devotion.”

Miranda is founder and director of MAPSpace and The Crit Lab. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; Visiting Lecturer at Purchase College SUNY, Kutztown University, WCC Peekskill Center for Digital Arts; and been awarded residencies at IPark, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received a grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches curatorial studies in the graduate program at Western Colorado University; was core faculty at New Hampshire Institute of Art’s low-residency MFA program from 2016-20, and faculty at Lyme Academy College of Fine Arts of the University of New Haven from 2005-19. 

She led the first study abroad program at the university’s campus in Prato, Italy in spring 2017. She served as director and curator of the Gallery at Concordia College-NY from 2008-12. Miranda develops education programs for K-12, museums, and institutions, including Franklin Furnace, the Solomon R. Guggenheim Museum, the American Museum of Natural History, and the Smithsonian Institution. She has exhibited at ODETTA Gallery, ABC No Rio, Wave Hill, and Rio II Gallery, in NYC; The Alexey von Schlippe Gallery at UConn Avery Point, Groton, CT; the Cape Museum of Fine Art, Cape Cod MA; and the Belvedere Museum, Vienna Austria.

Patricia Miranda’s Website