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, dye, pigment, thread, wood 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, dye, pigment, thread, wood
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

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, dye, pigment, thread 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, dye, pigment, thread
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

Lost Dialect DETAIL Silk gauze, dye, thread DETAIL (overall piece is 72" x 18" x 6").  1991

Lost Dialect DETAIL

Silk gauze, dye, thread
DETAIL (overall piece is 72" x 18" x 6").  1991

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

Passageways, Passageways—Anatomy of an Heirloom

synthetic fiber, cotton, 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, dye, wood  63" x 80" x 3". 1992

Sicilian Socks—The Sacred and Profane

rayon, synthetic fiber, pigment, dye, wood 

63" x 80" x 3". 1992

Sicilian Socks—The Sacred and ProfaneDETAIL

Sicilian Socks—The Sacred and ProfaneDETAIL

Damiana’s Cloth rayon, silk, thread 22" x 25" x 2.5". 1991

Damiana’s Cloth

rayon, silk, thread
22" x 25" x 2.5". 1991

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