Paintings With Dangling Thread Explore Notions of Belonging

“Before They Became an Outline.”

In the past few decades, fiber art has exploded onto the global stage, seeing artists reimagine the limits—and the historical meaning—of media like textiles, weaving, crocheting, embroidery, and so much more. Zoë Buckman is one such artist.

For years, Buckman has considered such themes as domesticity, labor, and womanhood through the lens of painting. But once she graduated from school and became a mother, the artist craved more tactility in her work, seeking out a vessel that could adequately capture her thematic interests. It didn’t take long for Buckman to begin experimenting with hand embroidery, which she now deftly weaves throughout several of her paintings.

More often than not, her embroidery assumes the form of thin, multicolored threads, delicately dangling from people’s bodies. At times, this thread obscures a subject’s expression, while other times, it adds a fascinating texture, drawing our eyes to details that may otherwise have gone unnoticed. In Trace Your Ridges, for instance, red strands trickle down across a woman’s face, almost resembling tears. In Knock on My Consciousness, on the other hand, streaks of purple, white, and orange threads pour out of a couple’s clasped hands and arms, reminiscent of veins or blood.

These hybrid paintings are the subject of Buckman’s latest solo exhibition, Who By Fire, currently open at Mindy Solomon Gallery in Miami. Throughout, visitors encounter works inspired by photographs of Buckman’s family and community members, offering a compelling glimpse into how the artist defines home, intimacy, and solidarity. It’s as though each painting insists upon its subject’s presence, demanding our attention and, perhaps more importantly, our respect. In summary, we are not to forget the intrinsic humanity of these people and the cultures of which they’re a part.

“With this series, I wanted to look at tender moments between those in my life irrespective of their gender, while leaning more into the importance of Jewish community for me,” Buckman tells My Modern Met. “These works look at the complicated relationship to the idea of the Home for myself and my people.”

My Modern Met had the chance to chat with Zoë Buckman about her artistic practice, Who By Fire, and how she conceptualizes home throughout her work. Read on for our exclusive interview with the artist.

“Trace Your Ridges.”

What are the origins of your creative practice, and how has it evolved throughout the years?

Growing up, I was always creating something. Later, I felt pulled to explore lens-based art, so I went to art school in New York at ICP. Honestly, I didn’t feel all that comfortable with photography as my medium, as even back then I wanted something more tactile.

After school and after becoming a mother, I started to use hand embroidery, which led to an exploration of many disciplines including ceramics, neon, sculpture, and now video, too. I always love to be in the role of student—exploring new ways to get my point across.

“Smells Like Light.”

What first compelled you about combining painting and hand embroidery?

I wanted to gradually play with scale, and start to see how it would feel to take up more space. I began collecting large vintage tablecloths to use as canvases. Since the pandemic, I’ve been slowly and intentionally playing with painting. It’s been a long process of getting comfortable with the medium. Paint on linen bleeds immediately, so I’ve been figuring out how to both embrace and manage that.

The embroidery element has a lot to do with my desire to bring my work back to the concept of labor, toil, the female experience. It also adds a layer of depth, as I’m able to draw the viewer’s attention to specific parts of a piece because I’m adding texture and playing with contrasting colors in my use of thread.

“Clocks the Exit.”

How do textiles and fiber art as a whole factor into the thematic scope of your work?

I think that textiles and fiber works are deeply rooted in the history of female expression and they’re also a way for me to talk about our propensity to express joy and creativity in domestic spaces. I see the female experience as utterly complex with so many contrasting characteristics.

“Crows on the Tracks.”

What was the process of mounting Who By Fire?

It’s been two years in the making, and working with a gallerist who sees, understands, and ultimately champions my artistic practice as a whole. Key to the process is that the gallery sees the many facets of my identity and is unafraid of all of them.

Installation view of “Zoë Buckman: Who By Fire” at Mindy Solomon Gallery in Miami, FL. (Photo: Zachary Balber)

The works in Who By Fire are based on photographs of family and community members. What drew you to this as an artistic framework, and how does it relate to the broader themes you explore in your practice?

I’ve always made work that touches in some way on the experiences of those around me, and until now that’s been women. With this series, I wanted to look at tender moments between those in my life irrespective of their gender, while leaning more into the importance of Jewish community for me. These works look at the complicated relationship to the idea of the Home for myself and my people—at belonging, safety, resilience and joy.

Installation view of “Zoë Buckman: Who By Fire” at Mindy Solomon Gallery in Miami, FL. (Photo: Zachary Balber)

Do you have a favorite work featured in the exhibition?

I don’t! I have a love-hate relationship with each one, the latter being due to just how laborious it was to make! But now that they’re framed and on the wall, I really appreciate each one of them again.

“Knock on My Consciousness.”

What do you hope people will take away from Who By Fire and your work in general?

If anything I want this series to say that we are here… that you can take us off the wall and try to hide us, but we’re not going anywhere. I’ve been told over the years that my work makes people feel seen and I think that’s always been an intention.