Sheary Clough Suiter
INNOCENT #6, One of seven suspended sculptures from the “Flight of the Innocents” installation., 2021
Reclaimed Vintage Baby Dress , encaustic, hand waxed threads, hand stitched embroidery, wire. 15x10x13
One of seven suspended sculptures from the "Flight of the Innocents," conceptualizing the impact of climate change on women and children forced to flee from homelands impacted by drought and flood.
Sheary Clough Suiter
FLIGHT OF THE INNOCENTS, Installation view, from the “The Clothes We Wear” Exhibition, Kreuser Gallery.This installation of seven suspended sculptures conceptualizes the impact of climate change on women and children forced to flee from homelands impacted by drought and flood., 2021
Reclaimed vintage baby dress, encaustic, hand waxed threads, hand stitched embroidery, wire. Variable dimensions.
This installation of seven suspended sculptures conceptualizes the impact of climate change on women and children forced to flee from homelands impacted by drought and flood.
Sheary Clough Suiter
FAST FASHION’S DIRTY LITTLE SECRETS, from “The Clothes We Wear” exhibition. Only 10% of recycled clothing gets re-sold. The rest goes mainly to landfill. And, as exemplified by this Victoria’s Secret tank top rescued from Fountain Creek near my home in Colorado Springs, some of it goes into our lakes, rivers, and streams., 2021
Reclaimed Victoria's Secret Woman's Tank Top, Thread, Hand-embroidered, Encaustic, Found Tree Branch. 23”x44”
Only 10% of recycled clothing gets re-sold. The rest goes mainly to landfill. And, as exemplified by this article of clothing I rescued from Fountain Creek near my home in Colorado Springs, some of it goes into our lakes, rivers, and streams. More than 60 percent of fabric fibers are now synthetics, derived from fossil fuels, so if and when our clothing ends up in a landfill (about 85 percent of textile waste in the United States goes to landfills or is incinerated), it will not decay. Nor will the synthetic microfibers that end up in the sea, freshwater and elsewhere, including the deepest parts of the oceans and the highest glacier peaks.
Sheary Clough Suiter
THE KEEPERS, Installation from “The Clothes We Wear” exhibition. Figurative custodians composed of impenetrable hardened wax shells, the Keepers series originated as a guilt-ridden approach to justify all of the online shopping that occurred in our household during Covid’s staying in period. How could I transform the plentitudes of plastic packing pillows into something artful?, 2021
Encaustic, Deconstructed Chenille Bedspread, Sewing and Embroidery Threads, Hand and Machine Stitch. Eleven Keepers linked as a vertical ceiling to floor sculpture, 96 x 14 x 14. Thirty individual Keepers comprise the floor level assemblage. Each keeper averages 8 x 5 x 3.
Figurative custodians composed of impenetrable hardened wax shells, the Keepers series originated as a guilt-ridden approach to justify all of the online shopping that occurred in our household during Covid's staying in period. How could I transform the plentitudes of plastic packing pillows into something artful?
Sheary Clough Suiter
Thirty individual Keepers comprise the floor level assemblage. Interactive installation designed to be touched, held, rearranged., 2021
Encaustic, Deconstructed Chenille Bedspread, Sewing and Embroidery Threads, Hand and Machine Stitch. Each keeper averages 8 x 5 x 3.
Figurative custodians composed of impenetrable hardened wax shells, the Keepers series originated as a guilt-ridden approach to justify all of the online shopping that occurred in our household during Covid's staying in period. How could I transform the plentitudes of plastic packing pillows into something artful? The early Keeper's appearance is dominated by hard-edged demarcations between black and red. But as the meditation of making dozens of multiples progressed, descendants of the original Keepers mutated form as corners lengthened into ear-like appendages, and their coloration evolved into painterly mixtures of black and red. Perhaps these ensuing generations of Keepers are successfully embracing their cultural and racial diversity, disregarding external trappings that may include The Clothes We Wear.
Sheary Clough Suiter
GO OR STAY? A discarded woman’s skirt morphs into a lampshade-like four-sided suspended sculpture. Hand-embroidered cursive on opposing sides reflects the dilemma faced by migrants who must make heart-wrenching choices between staying in the homeland they love versus facing the dangers of crossing borders to seek physical safety or a viable livelihood for their family. A reminder that people do not just pick up and abandon the place they’ve lived for generations without cause. Small print embroidery at the top repeats the clothing label “Made in Bangladesh” in English and Spanish, emblematic of the juxtaposition between Fast Fashion’s makers and consumers., 2021
Lining from Reclaimed, Deconstructed St. John's Bay woman's skirt, Found fake-flower petals from Marsha P Johnson Community Park, Brooklyn, Threads, Encaustic, Hand and Machine stitch, Wire, Purchased Light Fixture. 20 (51 including descending threads) x 18 x 11
A discarded woman's skirt morphs into a lampshade-like four-sided suspended sculpture. Hand-embroidered cursive on opposing sides reflects the dilemma faced by migrants who must make heart-wrenching choices between staying in the homeland they love versus facing the dangers of crossing borders to seek physical safety or a viable livelihood for their family. A reminder that people do not just pick up and abandon the place they've lived for generations without cause. Small print embroidery at the top repeats the clothing label “Made in Bangladesh” in English and Spanish, emblematic of the juxtaposition between Fast Fashion's makers and consumers.
Sheary Clough Suiter
ASSEMBLED COMPONENTS. Inspired by the garment tag which reads: “Assembled in Mexico of USA Components.” From “The Clothes We Wear” exhibition, conceptualizing the environmental and human costs of our Fast Fashion industry., 2021
Encaustic, Thread, Linen, Deconstructed St. John’s Bay Men’s T-Shirt, Wire, Hand Embroidery. 36 x 10 x 6"
From the "The Clothes We Wear" 2021 exhibition at Kreuser Gallery, Colorado Springs, conceptualizing the environmental and human costs of our Fast Fashion industry.
Sheary Clough Suiter
AFTERMATH, From “The Clothes We Wear,” conceptualizing the environmental and human costs of our Fast Fashion industry, 2021
Encaustic, Deconstructed Fast Fashion Clothing, Thread, Wire, Tacks, Machine and Hand Stitch. 40 x 14 x 13"
From "The Clothes We Wear" series, conceptualizing the environmental and human costs of our Fast Fashion industry.
Sheary Clough Suiter
STORED KNOWLEDGE, Installation view with “Living Doll” performance artist Julia Greene. https://www.sheary.me/dolls, 2019
Fabric, Thread, Waxed Cord, Rust Paper, Encaustic, Vintage Porcelain Doll Body 58 x 9 x 9"
Sheary Clough Suiter
Pocket-Keep LGBTQ Activist: MARSHA P. JOHNSON. One of six two-sided suspended sculptures created from deconstructed fast fashion clothing conceptualizes secret-keeping from personal, social, and historical perspectives. Each Pocket-Keep gives honor to a noteworthy woman whose place in history is little know, 2021
Encaustic, Deconstructed Fast Fashion Clothing, Thread, Wire, Hand and Machine Stitch. 29 x 20 x 5
Historically, women who have contributed substantially to humanity's advancements in the sciences and in the arts have been systematically secreted away, absent from our HIStory books. Each Pocket-Keep gives honor to a noteworthy woman whose place in history is little know
