Author: Theda Sandiford

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Pitchy Patchy

Drawing upon the vibrant tapestry of St. Croix’s Old Time Christmas Festival and its rich tradition of masquerade, Pitchy Pathcy is a soft fiber sculpture crafted from upcycled Patagonia shorts shredded then wrapped in a melange of textures and hues.

Infused with the spirit of the Pitchy Patchy mas character, known for its tattered, multicolored attire, this piece intertwines 4-ply worsted wool, soft rainbow wool, and whimsical eyelash yarn. Adorned with a medley of wooden and metal beads, cowrie shells, and hair jewelry, it pays homage to the enigmatic enforcers who animate the carnival’s bustling energy.

Assembled with reverence, this soft sculpture bridges the gap between tradition and innovation, inviting viewers to immerse themselves in the magic of masquerade.

Pitchy Patchy
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Transforming Trash into Treasure: Beach Clean-Up in St. Croix

Every week, I hit the shores of St. Croix armed not just with bags for trash, but with a vision. Ghost nets, marline line, and rope—once marine debris—are prized materials for my artwork. These discarded remnants not only mar our beautiful beaches but also tell a story of environmental neglect.

Through meticulous collection during beach clean-ups, I breathe new life into these discarded items. By repurposing them in my artwork, I not only create striking pieces but also raise awareness about ocean conservation and the impact of human activity on marine ecosystems.

I am turning the tide on pollution—one ghost net at a time.

Loading up the Jeep
Cleaning the small pieces
A good day’s haul
All coming together
Coiling rope
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Inspired by…. Sonya Clark

Textile and social practice artist Sonya Clark is renowned for her mixed-media works that address race and visibility, explore Blackness, and redress history. This online exhibition—the first survey of Clark’s 25-year career—includes the artist’s well-known sculptures made from black pocket combs, human hair, and thread as well as works created from flags, currency, beads, cotton plants, pencils, books, a typewriter, and a hair salon chair. 

Sonya Clark: Tatter, Bristle, and Mend

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My process…

My art process is a tapestry of community, found materials, and collective memory. I gather discarded items, each carrying its own story, and weave them into new narratives. Through collaborative workshops and beach clean ups, I engage with community members, listening to their stories and incorporating their memories into my work. This shared journey transforms individual experiences into a collective history. My art is not just a creation, but a communal act of remembrance, healing, and celebration of our intertwined lives and histories.

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April & Beyond Blog

ONGOING

Metamorphosis: Recycled, Repurposed, Reimagined

Exhibition Dates: February 9- April 21

Location: Annmarie Sculpture Garden & Arts Center; 13470 Dowell Rd, Solomons, MD 

Ponytails and Door Knocker Earring Installation

Dates: January 17-  July 17

Location: Time Equities Lobby 55 5th Avenue, New York NY

NEXT 

1-54 Contemporary African Art Fair with KATES-FERRI PROJECTS

Dates: May 1-4

Location: 1:54NY 601 W. 26th St. NY 10001 Booth #7

Touchstone Artist Residency

Dates: May 10-24

Location: Touchstone Center for Crafts; 1049 Sr2003, Farmington, PA 

Free Your Mind @ Touchstone

Dates: May 17 – September 20

Location: Touchstone Center for Crafts; 1049 Sr2003, Farmington, PA 

Uncontained: Reimagining Basketry

Exhibition Dates: May 19, 2024 – September 2, 2024

Location: Hunterdon Art Museum, 7 Lower Center St, Clinton, NJ

Free Your Mind @ 2024 Summer Discovery

Exhibition Dates: June 7 – August 30

Opening Reception: June 7, 5:00-9:00 pm

Location: Delaware Contemporary; 200 S Madison St, Wilmington, DE

American Tapestry Association’s Beyond: Tapestry Expanded

Exhibition Dates: August 1- December 15

Location: Peeler Art Center at DePauw University; 204 E. Seminary St., Greencastle IN  

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Ponytails & Door Knocker Earrings Installation

If you are in New York City, please go see my installation in the lobby of Time Equities and let me know what you think. The lobby is open 24/7/365.

Exhibition Dates: January 17-  July 17

Location: Time Equities Lobby 55 5th Avenue, New York NY

Elaborate strands of rope, meticulously wrapped, woven, tied, and adorned with recycled beads, zip ties, ribbon, lace, tape, and bells beckon you towards a vibrant installation that serves as a visual representation of natural hair. These daring and playful sculptures delicately encourage viewers to engage in unconventional dialogues surrounding microaggressions, stereotypes, and implicit bias specifically faced by black women embracing their natural hair.

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Vestiges of Masquerade

“Through ‘Vestiges of Masquerade,’ I delve into the echoes left behind after the festivities have ended and the costumes have been put away. This work embodies artifacts, adornments, and symbolic imagery that resonate with the essence of a masquerade. This piece serves as a totem, evoking a profound sense of mystery, allure, and wistful remembrance, inviting viewers to explore the enchanting world of masquerades long after the masks have been removed.

Vestiges of Masquerade. detail 1
Vestiges of Masquerade. detail 2
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Golden Serenity Tresses

This work weaves together a tapestry of culture and blend of African print fabrics, acrylic yarn, and upcycled textiles. Each meticulously crafted strand intertwines to form a mesmerizing cascade of long, luscious locs of hair, delicately knotted and wrapped around six three-ply cotton ropes. These locs exudes a sense of strength, resilience, and beauty.

Golden Serenity Tresses; African print fabrics, acrylic yarn, upcycled textiles, knotted and wrapped on 6 three ply cotton ropes
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Close Your Eyes and Listen …


Sitting on my deck, enjoying the gentle warmth of the raindrops on my skin, I closed my eyes, letting myself be carried away by the soothing rhythm of the rain. Suddenly, my peaceful moment was interrupted by a unfamiliar sound. It was Amazon, shuffling through a playlist by Herbie Hancock, and then I heard “The Jungle Line.”

Intrigued, I opened my eyes and asked Alexa for more information. She told me it was from Herbie Hancock’s album “River: The Joni Letters,” released in 2007 as a tribute to Joni Mitchell. I couldn’t believe I hadn’t discovered this song or album before.

As the music continued, I found myself drawn in by its complexity. Joni Mitchell’s lyrics vividly depicted the blend of urban life and natural wilderness, while Leonard Cohen’s distinctive recitation added depth. And then there was Hancock’s skillful keyboard work, weaving intricate rhythms and atmospheric sounds together.

In moments like these, when the rain and music merged, I felt a profound connection to something greater – a fusion of nature and melody. It served as a powerful reminder of the unexpected beauty that can be found in simple moments of life.