Maria E. Piñeres

Maria E. Piñeres is a Colombia-born American artist who lives and works in Los Angeles, CA. She was formerly represented by DCKT Contemporary in New York City and is currently represented by Walter Maciel Gallery in Los Angeles where she had her eighth solo exhibition in April 2015. Her work, mostly embroidery, has been exhibited at the Museum of Art & Design in New York City.[1] and Scottsdale Museum of Contemporary Art. She studied painting at The Art Students League of New York and graduated from Parsons School of Design with a BFA in illustration.

Maria E. Piñeres
Born1966 (1966)
Medellin, Colombia
NationalityAmerican
EducationHigh School of Art and Design Art Students League of New York Parsons School of Design
Known forEmbroidery

Embroidery work

She credits her mother and grandmother for teaching her to sew, knit, and crochet, but she taught herself needlepoint after discovering a book by Mary Martin, an actress and avid needlepointer.[2] The artist's work often consists of homo-erotic imagery taken from vintage pin-up magazines combined with vivid, sometimes complex, textile pattern backgrounds.[3] She first became widely known through her series of needlepoint celebrity mug shots which was first exhibited in 2005.[4] This series included portraits of celebrities such as Robert Downey Jr., Paris Hilton, and Michael Jackson, as well as a portrait of Jack White which was later shown in V magazine. The artist’s interest in the subject came from a desire to show the celebrity in a most vulnerable moment, without the protection of stylists and agents. These haunting images end up revealing a naked humanity in these often idealized subjects.[5][6]

Technique

She uses several different techniques including gathering imagery from vintage magazines, digital collages with images collected from the internet, and her own photographs. After some manipulation, the images are embroidered by fusing traditional needlework techniques ranging from a simple Continental stitch to more complex Bargello and Florentine traditions, which lend rich texture with a modern painterly focus on light and color.

gollark: I mean, I was fine with working remotely. I could get more done, did not have to bother with (as much) busy-work, had a flexible schedule, sort of thing.
gollark: It seems like they just completely disregarded the benefits of asynchronous communication, and decided that they had to make it as much like normal in-person school as possible, even despite the detriment to... actually teaching things.
gollark: I got an email from them (not even to me directly, forwarded from my parents) and:- the removed week of the summer term is being added to the end- they seem to expect to reopen in a month or so?- half the lessons will apparently now involve "human interaction", implying video calls or something, which will be *really annoying*, instead of having them just set work- they're running a timetable?!- I'm expected to be up by 08:45⸘
gollark: (that's not the annoying bit, I'm still typing)
gollark: So my school is being very annoying. There's been a somewhat longer easter holiday, but that ends soon and I'm going back to (remote) school.

References
  1. Camhi, Leslie (2007-11-13). "Let's Get Stitched". Village Voice. Retrieved 2016-02-27.
  2. Chaich, John; Oldham, Todd (2017). Queer Threads: Crafting Identity and Community. AMMO Books. pp. 130–131. ISBN 978-1623261054.
  3. Walt Cassna (July 9, 2009). "Correct Culture: Naughty Needlepoint, Apocalyptic Hats". Black Book.com. Archived from the original on July 24, 2011. Retrieved July 31, 2009.
  4. Andrea Dinoto (2008). "Pricked:Extreme Embroidery". American Craft. Archived from the original on October 25, 2010. Retrieved July 31, 2009.
  5. 12/07/2005 12:00 AM. "A Rogues' Gallery, by Maria E. Piñeres". The L Magazine. Retrieved 2016-02-27.
  6. McFadden, David Revere. Pricked: Extreme Embroidery. Museum of Arts and Design: New York, 2007.
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