Brooks Harris Stevens is an artist and professor who is continually inspired through the creation of fiber-based work that is deeply rooted in textile traditions. Working with interdisciplinary approaches, she seeks to expand concepts while working with fiber mediums. Her research focuses on finding value in our collective human experiences that are often discarded and overused through the mending of cloth, land and the built environment. Feminism, social engagement and political activism are paralleled forces that drive her creative practice.
For more information, please see: brooksfiberart.com and on Instagram @brooksharrisstevensart.
Brooks Harris Stevens, Connective Space (detail), 2019. Performed at Frog Island Park in Ypsilanti, Michigan. Image courtesy of the artist.
First, and most importantly, how are you doing? How are you navigating the highs and lows?
Each day is filled with highs and lows of confusion, heartbreak, empathy, anger, love and the desire to make as big of a difference as I can. I am fortunate to be a college professor and my semester ended at the end of April, which left me time to really focus on my two teenagers and the move we are about to make.
It's my experience that most artists engage with some level of self-isolation in their day to day art practice. Has this been your experience? And if so, have you found these innate rhythms to be helpful during this larger, world-wide experience of isolation?
I believe that being an artist who creates work mostly in my studio has set me up to have a lot of time for further introspection. Part of this deeper introspection is observing and listening even more. In addition to having the privilege to have this extra space I find that being a Gen X’er and latchkey kid of the 1970’s and 1980’s set me up pretty well to help cope with this isolation.
Brooks Harris Stevens, Connective Space, 2019. Performed at Frog Island Park in Ypsilanti, Michigan. Images and artifacts hung in unison. Image courtesy of the artist.
It would be great if you could briefly talk us through your practice. Understanding it is integral to appreciating the multivalence of your work.
Much of my work over the last 5-6 years has focused around the idea and need for mending and how that applies to all aspects of our lives; the worn textile, land and the built environment. Broadly looking into what needs mending has allowed me to approach my ideas without limits in regards to working with artifacts, history, and making with the intention of highlighting materials and techniques, but also most importantly how all of these things link us together. I read a lot from various textile books, journals, as well as a spectrum of articles that help me to dive deeper into our relationship with textiles. I have found that my approach is very direct as they appear in my mind as a finished piece. From that point of inspiration, I work backwards to decide what materials and techniques to use to best express my idea. As I work to complete the piece, I focus on the how what I am making and how many different facets of our lives it touches.
Brooks Harris Stevens, Mending Moss, 2019. Tufted forms of cotton, wool, rayon, silk and acrylic mimicking moss on dilapidating buildings. Image courtesy of the artist.
Brooks Harris Stevens, Mending Moss (detail), 2019. Tufted forms of cotton, wool, rayon, silk and acrylic mimicking moss on dilapidating buildings. Image courtesy of the artist.
Has any of your imagery shifted in a reflection to what's currently happening? And why, or why not?
For the past three years I have been specifically working with imagery that relates to societal imbalances, gun violence, celebrating the roles of women or other ways of commenting on what needs mending in our society. The events mostly around racial injustice, police brutality and corruption have heavily infiltrated my thoughts and I think that it is important for them to remain in my mind. These images will definitely be incorporated in some manner in future work.
Brooks Harris Stevens, Mending Gold: When Will It Be Enough?, 2017-current. Digitally printed and stitched whole cloth quilt, with gold threads pinpointing areas of mass shootings in the lower 48 states that cascade into brass bullet casings. Image by Stephanie Nabb.
Are you thinking differently? Coping differently? Inspired differently?
Absolutely, yes to all three, I think that something would be wrong if I wasn’t affected by everything that has been going on in our country. I find solace in being home, being with my family and having room to contemplate how I can help and make a difference from my point of privilege. During this time, I have not made much new work, although I have continued to work on The Frustration of Persistence, which is a triptych that I started after the 2016 election. Since my work has many meditative and repetitive qualities, I use this time stitching to think more about what and how I can make work that is even more inclusive than what I have made in the past.
Brooks Harris Stevens, Mending Gold: When Will It Be Enough? (detail), 2017-current. Digitally printed and stitched whole cloth quilt, with gold threads pinpointing areas of mass shootings in the lower 48 states that cascade into brass bullet casings. Image by Stephanie Nabb.
What research or writing are you doing that you find compelling?
I have continued to read and research articles on colonization and follow Critical Craft Forum on Instagram, which has great reading recommendations and information on artists. Listening to various podcasts have also been nice as a way to broaden my understanding of different artists perspectives.
Are you reading anything?
Mostly, I read Textile theory and health books because they keep my interests. Since I am a professor, I have been looking in to how to further decolonize my syllabi.
Brooks Harris Stevens, Mending Gold: When Will It Be Enough? (detail), 2017-current. Digitally printed and stitched whole cloth quilt, with gold threads pinpointing areas of mass shootings in the lower 48 states that cascade into brass bullet casings. Image by Stephanie Nabb.