Contemporary textile artist Erin Endicott considers her works a type of drawing, one through which she can best express herself. Walnut ink stains vintage fabric as red, white and brown threads are woven into the cloth. She engages with her works on a psychological level as well. For Endicott, the process-oriented medium she works in is indeed a healing process.
Through her works, Endicott heals her wounds by bringing them to light in visceral forms. She uses vintage fabric passed down by women in her family. Symbolically, her personal history is woven in the fabric that serves as the basis for the following work she performs. She stains the fabric with walnut ink. The ink’s natural flow shapes and tones the “wounds” that the stains represent. Working with this method, Endicott relinquishes control over the outcome of this staining process and trusts the ink’s organic flow completely. She then stitches over the stained fabric, often in red, white and brown threads. Healing comes through this meditative stitching process for the artist, stitch after stitch, hour after hour.
Besides the healing magic in the creation process, Endicott’s works are packed with symbolism of the marks she leaves on the fabric. Growing up in the scenic city Port Republic, New Jersey, the artist often draws her inspiration from the nature. Patterns of veins and roots, as well as shapes of cells and seeds are common themes throughout her works. The various clothing pieces she chooses to work on also serve as a metaphor for one’s skin, conveying a strong sense of intimacy.
Born in a family of textile artists, Endicott developed her penchant for this medium quite naturally. She studied textile design in Scotland and received her BFA in textile design at Moore College of Art and Design in Philadelphia. A long-time art teacher, Endicott recently decided to pursue her art career full-time. Her works have been exhibited at museums, galleries and other art organizations worldwide.
From December 10 to January 3, Endicott’s newest works will be exhibited at the Philadelphia Art Alliance along with Asimina Chremos’ crochet works in the HomeWork exhibition, guest curated by Alex Stadler. Weaving improvisation into their creation process, these two artists deviate from fiber art’s historical association with domesticity and femininity as suggested by the exhibition title.
Text by Qianni Zhu, Intern