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Susie’s textile panels – handcrafted with a traditional loom and cotton or linen yarn – seduce the eye with vibrant colors and geometric motifs. Her work dissolves the space between art and craft practices, positioning weaving at the core of her exploration of aesthetics. She is a Bay Area-based artist, and looks not only to Anni Albers but also Sol Lewitt, Agnes Martin, Frank Stella and Ellsworth Kelly. She studied, worked and continues to create within the lineage of the Bauhaus and Black Mountain College weavers. Some of her greatest influences come from these legendary weaving workshops and from their students, such as Kay Sekimachi’s dimensional weavings.

Her works “Badland” and “Hotspot” were acquired into the deYoung Museum’s permanent collection in San Francisco. She has recently shown at the ICA San Jose (CA) and Black Mountain College (NC) in “Weaving at Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students” 

Tetris Texture: Big Blue (2022), Weaving (Cotton), 48 x 70 inches
Susie Taylor and Pixelville: Blue Orange (2023)

Susie Taylor

Susie’s work explores geometric abstraction through the tradition of weaving, a process that requires a creative and technical mindset to solve visual and structural puzzles. Imagery, rendered by the interlacing of warp and weft, is embedded in the very structure of the cloth. The interplay of yarns produces discernible color tones and textures that support a deeper exploration of translucency, opacity, saturation and dimension. Inspired by Formalism and the Bauhaus, her compositions include basic shapes like blocks and stripes to address pattern, symmetry and color interaction, and the notion that ordered systems can still flirt with chance, interruption, and improvisation.

Pixelville: Blue Orange (2023), Weaving (Cotton), 37 x 29.5 inches
Pixelville: Green Red (2023), Weaving (Cotton), 37 x 29.5 inches
Bauhaus Gold and Red, diptych, Linen weavings, 23 x 17 inches each

Satin Weave Series / photo credit James Dewrance

Satin weaves are unique because they allow for defined areas to be either warp dominant or weft dominant, resulting in a smooth surface with nearly full color saturation. This body of weave structures can also be modified (shaded satins) to express a gradual transition from one extreme to another.

Shaded Satin Stripes – Axis, Suite & Whirl (below) – rely on a hybrid approach of combining loom-controlled satin structures with a hand manipulation technique to achieve the diagonal lines. Using shaded satin weaves allows me to articulate a gradual transition between extremes while also expressing visual dimension that springs from a 2D surface.

Shaded Satin Stripes: Suite (2022), Hand-dyed linen mounted on Belgian linen, 35 x 25 inches

“There is a vulnerability to the presentation of the work in the Satin Weave Series. The woven edges (selvedges) are highlighted, not hidden, as a reminder that the process of handweaving is manual not industrial. There is a certain charm found in the evidence of hand-made processes associated with the tradition of craft.”

ZigZag Box (2024), Weaving (linen), 32 x 25 inches
Impression Study Green (2023), Weaving (Hand-dyed linen), 21 x 17 inches

Above works: Twill Club

Bend (2023), Weaving (cotton) 29″ x 29″, Wink (2023), Weaving (cotton) 29″ x 29″

Twills are diagonal weave structures that can be dominant vertically, horizontally or equally balanced. This series explores straightforward block compositions based on 16 squares (4×4), 8 colors (not including the neutral border) and rendered in 3 twill weave structures that appear at opposing angles. The humble, bright and cheerful nature of this series speaks to the notion that “Simplicity does not precede complexity, but follows it- Alan Perlis”.

Social Fabric (2022), Cotton weaving, 88 x 75 inches

Social Fabric suggests that our overall strength depends on the interconnectedness of many diverse, individual components.

Social Fabric is a large-scale piece woven in two panels which have been hand-stitched together. It is rendered in heavy cotton yarns using warp satin and weft satin weaves to allow for nearly full saturation of color. This work is directly inspired by Frank Stella’s printmaking series and Richard Anuszkiewicz’s paintings that utilize linear gradients to depict dimensional cylindrical forms. In this case, the cylindrical shapes reference colossal yarns woven together in an intricate self-referential weave structure – a weaving about weaving. Social Fabric suggests that our overall strength depends on the interconnectedness of many diverse, individual components.

X-Ray Fold Series / photo credit James Dewrance

“The X-Ray Folds series came about because I’ve been developing a body of weave structures compatible with Bauhaus tradition of double weave. I use a high contrast palette then use the structures to articulate optical translucency, overlapping, dimension and volume. Lots of experimenting here, a leap of faith.

Had to pick up the weave on this one with a stick. So this series is a combo of hand manipulation and loom structure.” – Susie Taylor in an interview with Black Mountain College

See Through Box (2024), Weaving (linen), 32 x 25 inches

Iconic Stripes Series / photo credit James Dewrance

Stripes are basic design elements that most weavers incorporate into their work. Like so many others, I love to experiment with different stripe layouts to see what kind of visual effects are possible. After reading The Devil’s Cloth: A History of Stripes by Michel Pastoureau, I came to appreciate the mostly fraught historical record of striped cloth dating back to before biblical times. I came to see that stripes are not merely decorative afterthoughts but instead hold specific social and/or cultural meanings, particularly in the context of cloth.

From that understanding, I began to think about how certain stripe patterns are very identifiable and how people may have strong associations with stripes from advertising, memory, and everyday objects. My objective for Iconic Stripes was to identify a body of recognizable stripe patterns that could be paired together to expand on the formal visual experience of each individual pattern.

These works are composed in a simple tessellated block layout. The figure and ground occupy the exact same area so that one does not dominate the other. By keeping the geometry equalized, the stripes take on the role of either being dominant, submissive, or harmonious. The vertical stripes are rendered in warp-faced satin weave and the horizontal stripes in a weft-faced satin weave. This construction allows for a saturation of color without much contamination from the opposing threads. The tidy, wrapped edges capture the overall ambition of precise calculation and disciplined execution.

“After reading The Devil’s Cloth: A History of Stripes by Michel Pastoureau, I came to appreciate the mostly fraught historical record of striped cloth dating back to before biblical times.”
One of six new works from Taylor's Iconic Stripes Series, "Iconic Stripe 1" (2022), Cotton weaving, 44 x 33 inches.
Susie Taylor at ICA San Jose

Above works, from top to bottom: Iconic Stripes Series

Iconic Stripes 2 (2022), Cotton weaving, 44 x 33 inches;
Iconic Stripes 3 (2022), Cotton weaving, 44 x 33 inches;
Iconic Stripes 4 (2022), Cotton weaving, 44 x 33 inches;
Iconic Stripes 5 (2022), Cotton weaving, 44 x 33 inches;
Iconic Stripes 6 (2022), Cotton weaving, 44 x 33 inches

About the Artist