Chrysalid   cotton, synthetic fiber, paper, pigment, thread 24" x 32" x 9"  1993

Chrysalid

cotton, synthetic fiber, paper, pigment, thread
24" x 32" x 9" 
1993

  Chrysalid  DETAIL

Chrysalid DETAIL

  Chrysalid  DETAIL

Chrysalid DETAIL

  Old Stories   silk, rayon, pigment, thread, wood / dye 72" x 18" x 6"  1991  “In my own family, only a vestige of my immigrant grandparents’ dialect remains but somehow remnant of their oral traditions persist and endure and continually inform. That continuum—that dialogue between generations—is implied in this work by the use of layering, not only with cloth, but with images of text.”  –Susan Lordi Marker

Old Stories

silk, rayon, pigment, thread, wood / dye
72" x 18" x 6" 
1991

“In my own family, only a vestige of my immigrant grandparents’ dialect remains but somehow remnant of their oral traditions persist and endure and continually inform. That continuum—that dialogue between generations—is implied in this work by the use of layering, not only with cloth, but with images of text.”  –Susan Lordi Marker

  Lost Dialect  DETAIL  Silk gauze, thread / dye 72" x 18" x 6"  1991

Lost Dialect DETAIL

Silk gauze, thread / dye
72" x 18" x 6" 
1991

  Soulskin: Listening to Julia   linen, silk, cotton, thread / dye 29" x 26" 1995

Soulskin: Listening to Julia

linen, silk, cotton, thread / dye
29" x 26"
1995

  Soulskin; Listening to Julia  DETAIL

Soulskin; Listening to Julia DETAIL

  Excavation: Soulskin #11   linen blend, thread, dye, pigment / devoré 66" x 34"  “Here I present cloth as having the same significance as other essential elements of the earth. Much of the linen is burnt away, leaving a thin, transparent veil of fiber connecting what remains. Extending the piece 13" away from the wall gives it a floating, tenuous presence. I wanted to elevate the value of cloth as personal evidence of a life.” –Susan Lordi Marker 

Excavation: Soulskin #11

linen blend, thread, dye, pigment / devoré
66" x 34"

“Here I present cloth as having the same significance as other essential elements of the earth. Much of the linen is burnt away, leaving a thin, transparent veil of fiber connecting what remains. Extending the piece 13" away from the wall gives it a floating, tenuous presence. I wanted to elevate the value of cloth as personal evidence of a life.” –Susan Lordi Marker 

  Excavation: Soulskin #11  DETAIL

Excavation: Soulskin #11 DETAIL

  Manifesto   Cotton, nylon, pigment, thread / dye 65" x 65" x 5"  1993  “The idea that the past continues to inform the present intrigues me. In  Manifesto , a dialogue among generations is glimpsed through a palimpsest of images and text. This layering could imply gradual disappearance, yet also suggest a process of unfolding and emerging.” –Susan Lordi Marker 

Manifesto

Cotton, nylon, pigment, thread / dye
65" x 65" x 5" 
1993

“The idea that the past continues to inform the present intrigues me. In Manifesto, a dialogue among generations is glimpsed through a palimpsest of images and text. This layering could imply gradual disappearance, yet also suggest a process of unfolding and emerging.” –Susan Lordi Marker 

  Manifesto  DETAIL  “I work the cloth until it bears the humanness; it must breath the hand of the maker.” –Susan Lordi Marker

Manifesto DETAIL

“I work the cloth until it bears the humanness; it must breath the hand of the maker.” –Susan Lordi Marker

  Manifesto  DETAIL

Manifesto DETAIL

  Manifesto  DETAIL

Manifesto DETAIL

  Tree   Collage 11" x 7.5" 1992  “On one of the ‘pages’, a figure suddenly springs upward, the image of a joyful young boy, arms flung up, his body patterned with green and yellow, except for the hands which are wine red. The background texture consists of plant motifs, frequently seen in the artist’s textile. Susan Lordi Marker has talked about her love of natural forms, of the “fibrousness” of prairie grasses. The variations in such forms are a visual counterpoint to the regularity of woven textile structure.”  –Hildreth York, in Portfolio book

Tree

Collage
11" x 7.5"
1992

“On one of the ‘pages’, a figure suddenly springs upward, the image of a joyful young boy, arms flung up, his body patterned with green and yellow, except for the hands which are wine red. The background texture consists of plant motifs, frequently seen in the artist’s textile. Susan Lordi Marker has talked about her love of natural forms, of the “fibrousness” of prairie grasses. The variations in such forms are a visual counterpoint to the regularity of woven textile structure.”  –Hildreth York, in Portfolio book

  Book of Experiments   Mixed media 24" x 22" x 3"  1992-97  “Lordi Marker’s handmade ‘book’ of experiments is especially intriguing. Swatches of materials, images of various sorts, are stitched together as if they were fragments of dreams, complex and multi-layered as dreams are. The pieces in this book sometimes precede, but often accompany the development of ongoing work. In this gathering of samples are ideas and images that will occur in finished work. Even the most spontaneous-seeming of Lordi Marker’s early and later pieces may have undergone arduous rehearsal, possibly in more than one medium. The book of experiments is, in a very real sense, the artist’s visual diary” –Hildreth York, in Portfolio book

Book of Experiments

Mixed media
24" x 22" x 3" 
1992-97

“Lordi Marker’s handmade ‘book’ of experiments is especially intriguing. Swatches of materials, images of various sorts, are stitched together as if they were fragments of dreams, complex and multi-layered as dreams are. The pieces in this book sometimes precede, but often accompany the development of ongoing work. In this gathering of samples are ideas and images that will occur in finished work. Even the most spontaneous-seeming of Lordi Marker’s early and later pieces may have undergone arduous rehearsal, possibly in more than one medium. The book of experiments is, in a very real sense, the artist’s visual diary” –Hildreth York, in Portfolio book

  Book of Experiments  DETAIL

Book of Experiments DETAIL

  Excavation: Soulskin #10   linen blend, thread, dye, pigment / devoré 30" x 47" x 13"  1997  “I embrace the idea of “old but kept” cloth as a metaphorical expression of people’s lives. Clearly cloth can be physical evidence of past experiences, traditions and rituals. The text which is burnt through the surface alludes to a personal account, traditions of storytelling, or proverbs passed down through generations, These are all intangibles which can slip through one’s fingers if they are not somehow preserved, Both skin and cloth are fragile and vulnerable to the elements, and I question what really lasts, or endures through time.” –Susan Lordi Marker 

Excavation: Soulskin #10

linen blend, thread, dye, pigment / devoré
30" x 47" x 13" 
1997

“I embrace the idea of “old but kept” cloth as a metaphorical expression of people’s lives. Clearly cloth can be physical evidence of past experiences, traditions and rituals. The text which is burnt through the surface alludes to a personal account, traditions of storytelling, or proverbs passed down through generations, These are all intangibles which can slip through one’s fingers if they are not somehow preserved, Both skin and cloth are fragile and vulnerable to the elements, and I question what really lasts, or endures through time.” –Susan Lordi Marker 

  Excavation: Soulskin #10  DETAIL

Excavation: Soulskin #10 DETAIL

  Keeper of the Records   silk, cotton, synthetic fiber, pigment, thread  72" x 43" x 6"  1992  “Much of my work refers to documents, books or diaries, yet at the same time suggesting communication beyond the written word. Who or what is the true ‘keeper of the records? How do we preserve the intangible? The forms I use could also carry metaphorical messages about preservation, preciousness, and rarity.”– Susan Lordi Marker

Keeper of the Records

silk, cotton, synthetic fiber, pigment, thread
72" x 43" x 6" 
1992

“Much of my work refers to documents, books or diaries, yet at the same time suggesting communication beyond the written word. Who or what is the true ‘keeper of the records? How do we preserve the intangible? The forms I use could also carry metaphorical messages about preservation, preciousness, and rarity.”– Susan Lordi Marker

  Keeper of the Records  DETAIL

Keeper of the Records DETAIL

  Keeper of the Records  DETAIL

Keeper of the Records DETAIL

  Keeper of the Records  DETAIL

Keeper of the Records DETAIL

  Sympathetic Resonance   cotton, silk, nylon, synthetic fiber, pigment, thread 42" x 29" x 6"  1992

Sympathetic Resonance

cotton, silk, nylon, synthetic fiber, pigment, thread
42" x 29" x 6" 
1992

  Sympathetic Resonance  DETAIL

Sympathetic Resonance DETAIL

  Sympathetic Resonance  DETAIL

Sympathetic Resonance DETAIL

  Tell Your Own Story   cotton, silk, nylon, synthetic fiber, pigment, thread 42" x 29" x 6"  1992

Tell Your Own Story

cotton, silk, nylon, synthetic fiber, pigment, thread
42" x 29" x 6" 
1992

  Tell Your Own Story  DETAIL

Tell Your Own Story DETAIL

  Passageways, Passageways—Anatomy of an Heirloom   cotton, silk, nylon, synthetic fiber, pigment, thread 30" x 53" x 5"  1993

Passageways, Passageways—Anatomy of an Heirloom

cotton, silk, nylon, synthetic fiber, pigment, thread
30" x 53" x 5" 
1993

  Passageways, Passageways—Anatomy of an Heirloom  DETAIL

Passageways, Passageways—Anatomy of an Heirloom DETAIL

  Passageways, Passageways—Anatomy of an Heirloom  DETAIL

Passageways, Passageways—Anatomy of an Heirloom DETAIL

  Sicilian Socks—The Sacred and Profane   rayon, synthetic fiber, pigment, wood / dye 63" x 80" x 3"  1992

Sicilian Socks—The Sacred and Profane

rayon, synthetic fiber, pigment, wood / dye
63" x 80" x 3" 
1992

  Sicilian Socks—The Sacred and Profane  DETAIL

Sicilian Socks—The Sacred and Profane DETAIL

  Damiana’s Cloth   rayon, silk, thread 22" x 25" x2.5"  1992

Damiana’s Cloth

rayon, silk, thread
22" x 25" x2.5" 
1992

  Untapped   cotton, wood, rope, pigment, thread 30" x 33" x 8"  1993

Untapped

cotton, wood, rope, pigment, thread
30" x 33" x 8" 
1993

  Untapped  DETAIL

Untapped DETAIL