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Grass Is Not Greener

Theda Sandiford Grass Is Not Greener 40 x 21 x 39 in Gold painted recovered shopping cart with a bicycle bell, paracord, zip tie blanket, LED strobe light, batterie operated LED star lights and basket woven with marine line, fabric and paracord. 2022

“The Grass Is Greener” is a common idiom that expresses the idea that things always seem better, more desirable, or more appealing on the other side—often referring to someone else’s situation, possessions, or lifestyle. This phrase captures the human tendency to idealize what we don’t have and to believe that life would be better if we were in a different place or had different circumstances.

This suggests a sense of dissatisfaction with one’s current state, driven by the illusion that another situation might be more fulfilling or problem-free. However, it also implies that this perception may be misleading, as we are often unaware of the complexities and challenges that exist elsewhere.

This emotional baggage cart is filled with the weight of unmet expectations, the heavy burden of regret, and the frustration of chasing illusions. It carries the emotional toll of having uprooted oneself, either physically or mentally, in pursuit of something “better”—only to find that the new landscape is not as perfect as it seemed from a distance. This shopping cart serves as a metaphor for the journey of coming to terms with the complexities of desire and contentment, reminding us that fulfillment is often found not in the pursuit of what is elsewhere, but in the appreciation and tending to where we are now.

Theda Sandiford
Grass Is Not Greener
40 x 21 x 39 in
2022
Theda Sandiford
Grass Is Not Greener
40 x 21 x 39 in
2022
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Building Space for Banana Fibers…

As I look forward to the completion of my studio, I can’t help but feel excited about the possibilities that will unfold once I finally have the space to work on projects I’ve only dreamed of. One of the things I’m eager to dive into is processing banana fibers. The idea of turning something so common in my environment into a material I can work with feels deeply satisfying—almost like a full-circle moment of creation.

Banana fibers are strong, flexible, and have such a beautiful, natural texture. But up until now, I’ve lacked the dedicated space to properly process them. Once the studio is built, I’ll have the room and the right environment to experiment, to let the fibers dry and cure, to extract them in ways that preserve their strength and integrity. In this new space, I’ll finally be able to explore the full potential of this material and see where it leads me artistically.

Stay tuned, because once this studio is up and running, I’ll be sharing the journey of working with banana fibers—and who knows what else will emerge in this new chapter of my creative practice!

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Promo Code for Textile Alchemy Workshop

Textile Alchemy with Theda Sandiford
Saturday, March 8 + Saturday, March 15 with a midweek meetup

Take a virtual workshop with me. Learn new skills and techniques, get inspired, and find ways to apply what you learn to your current studio practice.

Receive 10% off when you register by December 15, 2024 with promo code EARLYBIRD

Interested in taking more than one workshop? Use code WORKSHOPS15 for 15% your total when you register for more than one workshop.

REGISTER NOW

Marine line and more

“Textile Alchemy” is an engaging and innovative workshop that combines the exploration of different environments—beaches, urban areas, and even our own closets—to source unique materials for textile art. Participants will learn how to source and creatively utilize found and upcycled materials from diverse environments to craft meaningful and sustainable textile pieces. The workshop emphasizes sustainability, resourcefulness, and innovation, encouraging participants to find artistic potential in the most unexpected places. By embracing a zero-waste philosophy, this workshop invites participants to turn what might be considered “waste” into “wonder.”

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Book Review: In the Shadow of Slavery: Africa’s Botanical Legacy in the Atlantic World

I’m currently reading In the Shadow of Slavery: Africa’s Botanical Legacy in the Atlantic World by Judith Carney as part of my research into the folklore surrounding Provision Grounds on St. Croix. This book is a rich resource, not only for its deep historical analysis but for how it weaves together the botanical, cultural, and social legacies of enslaved Africans in the New World. It provides a vital context for understanding how African knowledge systems, particularly around agriculture and medicinal plants, played a crucial role in survival and resistance during the transatlantic slave trade.

The book does a remarkable job of showing how African botanical knowledge traveled across the Atlantic, taking root in the Caribbean, the American South, and other regions. What I found particularly compelling is the examination of Provision Grounds—small plots of land where enslaved people were able to cultivate food. These spaces became sites of autonomy and resistance, where African agricultural practices flourished despite the oppressive conditions of slavery.

The book also highlights the resilience of African people, whose knowledge of plants—whether for food, medicine, or rituals—was passed down through generations and became a key part of life in the New World. This legacy is still felt today in the foods we eat, the herbal remedies we use, and the traditions we uphold. The book reminds us that while slavery was a system of immense brutality, African culture survived, adapted, and influenced the world in profound ways.

One of the aspects I found particularly useful for my work is the book’s detailed exploration of specific plants and their uses, which provides a foundation for understanding how these botanical legacies have shaped not only survival but also identity in the African diaspora. For anyone interested in the intersection of history, agriculture, and cultural survival, In the Shadow of Slavery is a must-read. It’s a powerful reminder of the enduring strength of African traditions, especially in the face of immense adversity.

As I continue to work on my own project exploring the folklore and foodways of St. Croix, this book has given me both insight and inspiration. It’s not just about the plants themselves, but the stories and practices that surround them—how they offer a means of connection to the past, resistance in the present, and hope for the future.

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Racism = 1mm of Skin

“Racism is one millimeter of skin.” This phrase has been resonating in my mind recently. It’s such a simple, yet powerful statement about the absurdity of prejudice—how something as superficial as the color of our skin has been used to divide, categorize, and dehumanize people for centuries.

One millimeter. That’s how thin the barrier is between us. Beneath that tiny, fragile layer, we are all made of the same flesh, bone, and spirit. Yet, historically, societies have built entire systems around that minuscule difference, elevating one group while oppressing another, just because of a variation in melanin.

I think about this often, especially as an artist whose work digs deep into history, memory, and identity. When you consider how much of human potential, creativity, and connection has been lost or warped due to racism, it feels overwhelming. How could something so small—so biologically insignificant—be the root of so much pain, hatred, and injustice?

But this phrase also gives me hope. If racism is just one millimeter of skin, then the truth of our shared humanity is always right there, just beneath the surface. The work we do, whether in art, activism, or everyday life, peels away that layer, revealing the sameness that lies underneath. By recognizing this, we can begin to dismantle the structures of racism and build something more equitable, something that honors the depth of who we truly are, beyond appearances.

As an artist, I feel it’s part of my responsibility to highlight this—to create works that speak to that deeper connection, that challenge the notion that skin color should determine worth. And every time I create, I’m peeling back that one millimeter, layer by layer, hoping that others will join me in this slow, necessary process of seeing beyond the surface.

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Cordage from My Garden

Yesterday, I spent the morning cutting back the massive Yucca plants that have been growing wild on my compound. These plants are formidable—sharp, resilient, and full of potential. As I worked through the thick, spiky leaves, I couldn’t help but think about the possibilities that lie within them. Yucca has been used for centuries to make strong, durable fibers, and I’m excited to reserve these leaves for a project I’ve been planning: making my own cordage this winter.

When the temperatures finally dip below 85 degrees—yes, I’m waiting for that cool break—I’ll begin the process of extracting the fibers from the Yucca. It’s a slow, labor-intensive task. There’s something deeply meditative about working with natural materials, coaxing fibers from plants that have been growing right outside my door. Plus, it connects me to an ancient practice of using what’s available in nature to create something both functional and beautiful.

But that’s not all. I’ve also been gathering materials for another experiment: natural dyes. The lichen that grows on the Palm trees, and the sorrel I’ve been cultivating all offer the promise of vibrant, earthy colors. Once the cordage is ready, I’ll start playing around with these dyes to see what kinds of hues I can bring out. It’s a way of layering the natural world into every part of the process, from the fiber to the color.

Stay tuned to see how this develops! I’m excited to share the results of these winter projects. There’s a certain kind of magic in watching an idea take shape—especially when it’s rooted in the land around me.

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Register for 11/20 Textile Talk

LEARN & MAKE WITH SDA, PART 2
Textile Talk

With Lisa Klakulak, Theda Sandiford, Maggie Hensel-Brown, and Youngmin Lee
Wednesday, November 20, 2pm EST (convert time zone)
Spanning across media and disciplines, Surface Design Association is proud to present its Spring 2025 online workshop series! Join in to hear from four workshop instructors, Lisa Klaulak on wet felting, Theda Sandiford on incorporating found and upcycled materials into textiles, Maggie Hensel-Brown on lacemaking, and Youngmin Lee on bojagi.
Help us celebrate the many techniques and materials used in the field of fiber arts and get a sneak peek at SDA’s 2025 workshops! 

REGISTER NOW
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Power Puff Black Racing Stripe

Theda Sandiiford
Power Puff Black Racing Stripes,
36 x 40 x 24 in
Bike reflectors and bell, paracord, Fresh Direct bag yarn, doggie poop bags, plastic newspaper bags and plastic grocery bags woven on gold spray painted recovered shopping cart.
2021

Created using plastic New York Post newspaper sleeves woven onto a gold spray-painted, reclaimed shopping cart, transforming BAD NEWS into a symbol of Joyful Resistance.

Joyful resistance seeks to reclaim spaces and narratives that have been dominated by oppressive forces, flipping the script by finding beauty, connection, and empowerment in the act of standing up for justice. It is about holding space for hope and vision, even in the face of adversity, creating a more vibrant and inclusive world through the act of celebration and creative expression.

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Fibre Arts Takes Two: Friday Feature Artist Theda Sandiford


Theda Sandiford is a Conceptual Materials Social Practice Artist who uses everyday objects—like zip ties, bottle caps, and marine debris—to explore themes of equity, inclusion, and microaggressions. Her art draws on her lived experiences and challenges societal biases, using materials that reflect resilience and transformation. The “Blackity Black Blanket,” a prominent piece, uses zip ties woven into fishing nets, symbolizing both softness and discomfort to represent the persistent “poking” of microaggressions. Sandiford’s work often delves into the subtle, often unintentional, racial biases that marginalized people face daily, such as backhanded compliments or prejudiced behaviors. She encourages awareness and mindfulness of these microaggressions, advocating for empathy and a deeper understanding of others’ experiences. Her installations, inspired by marine waste and personal artifacts, invite viewers to engage with challenging conversations around stereotypes and bias, using her art to spark dialogue and reflection on societal issues.

Discover more about Theda Sandiford’s remarkable journey and the stories behind her work in her interview with Fibre Arts Take Two. You can read the full interview here.