Artist Statement:

My work is a combination of quilting, dyeing, and embroidery. I am striving toward sustainable studio practices by repurposing fabrics bound for the landfill and using hand techniques as much as possible. The themes in my work explore the relationships between humans and the landscape. As a result I work with a variety of imagery including satellite imagery of impacted landscapes, USGS maps, historic maps, and my own memories of viewing the landscape through a car window.

Learn more about the artist as Leah answers 10 great questions!

What is influencing your work at the moment?

I am recently working on newer, small pieces that recall childhood memories of looking out of car windows on road trips. The landscapes feature power lines, water towers, pivot irrigation, dry farming, and solar arrays. These pieces still address a common overall them of my work which is how humans interact with land. Some of my larger pieces address themes of extraction and development. For these I reference satellite and map imagery of things like land reclamation in the Middle East, oil canals in Louisiana, pot ash mines, and irrigated Midwest farmland. I also get into USGS lava flow maps and historic maps of the Mississippi River.

How did you come to focus on your current subject?

In my early twenties I studied textile design and spent my summers off from college working for the National Park Service at Isle Royale in the Upper Peninsula of Michigan. Learning the history of the island and experiencing true wilderness was life changing. During this time I also took a class on Enviromental History, not realizing that it would become a thematic focus of my work for the next two decades.

Can you articulate what draws you to a particular composition?

In the last few years I have been looking for existing imagery showing an obvious human influence. I am drawn to imagery that looks biological and natural, but also shows geometric or grid-like elements to suggest the structures people impose on the land. I also enjoy imagery that has a sort of gestural awkwardness about it.

Who or what has strongly influenced your work?

From an early age I was aware of how important the landscape was to my family. I grew up in flat and uncelebrated parts of Kansas. Because of that am sort of drawn to landscapes that other people undervalue. I appreciate the Midwest, its history, and its people. As far as artists, I have recently been inspired by photographer Edward Burtynsky and the idea that we have entered into the Anthropocene epoch. This marks a “new era of geological time where human activity is the driving force behind environmental and geological change.”

If you could have one work of art in your home from a museum or private collection, what would it be?

I would love to live with a quilt by Annie Mae Young or Loretta Pettway - but they belong in a museum where people can enjoy them and learn the story of the quilters of Gee’s Bend.

Why did you decide to work in your chosen medium?

Of all the craft media cloth feels like the most accessible. I love that it can be as low tech as scraps, thread, and a needle. Textiles are common and portable and everyone has a relationship with them. Quilting is attractive to me because it is based on reusing materials that have a history.

What’s the most indispensable item in your studio?

My basic Kenmore sewing machine and good, sharp scissors.

How do you know when a piece of work is finished?

I don’t always. Sometimes I rush finishing a piece. Then I realize I’m unhappy with it and I take it apart. This happens every couple years. After reworking it the result is usually two superior pieces. The extra work is a reminder to take my time.

From where do you draw your inspiration?

I get a lot of ideas driving or riding in a car and looking out the window. Sometimes I randomly search Google Earth or Maps looking for human-made alterations to the landscape. Sometimes I read a story of a place and have to dig in and learn more.

What does your studio look like?

My studio is a 8’x11’ room between my living room and my families bedrooms. A window looks out on the Capitol City bike trail. As I press fabric I watch the bikers and walkers go by. There is a rainbow wall of thread and stacks and piles of fabric.