Sully.
Geometry went in. Jazz came out.
Sully Sherrod builds her own frames. Then she fills them with color until the structure forgets itself.
She is a weaver and a painter, which means she works on both sides of the argument between control and instinct. The loom sets the grid. The paint disrupts it. What lands somewhere in between is the point. Bold color clashes, linen as a foundation, geometry softened by gesture. Her studio is active and colorful and, on the right afternoon with Thelonious Monk on, slightly transportive.
She calls the loom a time machine, which is either poetic or accurate, probably both. She came to weaving as a recovering perfectionist and found, to her relief, that the craft has a natural wonkiness built in. The imperfection is structural. She did not have to learn to let go. The loom was already there ahead of her.
Future direction: bigger, looser, a little weirder. The grid, apparently, has more to say.
"When a child stops to really look at fabric, that is the whole review."
The Makers : portraits in words
Fabric with something to say. Pass it on to someone ready to listen.… →
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