Bio:
Fiber Artist, Writer, and Educator. Raised in Chicago by two artists, Lizzie Green was introduced to a creative lifestyle at a young age. Her work uses repurposed textiles to fabricate collages, quilts, and soft sculpture installation to explore topics of nostalgia, familiarity, and a sense of home in an urban environment. In 2017, After receiving her BFA in Fiber from the Kansas City Art Institute, Green spent three years teaching art at a local nonprofit while maintaining her studio practice. During this time, she grew a love for teaching and now attends Virginia Commonwealth University, in Richmond VA, in pursuit of her Master’s in art education with licensure.![]()
Statement of Praxis:
In my future art classroom, I hope to adapt my interest in needlework and traditional textile Craft practices into my lesson plans as culturally sustaining pedagogy. I feel strongly that classroom discussions about Craft can challenge students to think critically about the divisions between high and low art and how this relates to their own cultural experiences. Discourses like these are necessary to have in an art classroom because they allow students to question value systems assigned to the visual culture they experience every day.
I want to challenge students to reconsider their preconceived ideas about creativity, art, and visual culture. I hope that students will leave my classroom with the ability to navigate and dissect the visual culture they encounter in their day-to-day lives, and I want them to know they do not have to identify as an artist to find joy in creating.
Fiber Artist, Writer, and Educator. Raised in Chicago by two artists, Lizzie Green was introduced to a creative lifestyle at a young age. Her work uses repurposed textiles to fabricate collages, quilts, and soft sculpture installation to explore topics of nostalgia, familiarity, and a sense of home in an urban environment. In 2017, After receiving her BFA in Fiber from the Kansas City Art Institute, Green spent three years teaching art at a local nonprofit while maintaining her studio practice. During this time, she grew a love for teaching and now attends Virginia Commonwealth University, in Richmond VA, in pursuit of her Master’s in art education with licensure.
Statement of Praxis:
In my future art classroom, I hope to adapt my interest in needlework and traditional textile Craft practices into my lesson plans as culturally sustaining pedagogy. I feel strongly that classroom discussions about Craft can challenge students to think critically about the divisions between high and low art and how this relates to their own cultural experiences. Discourses like these are necessary to have in an art classroom because they allow students to question value systems assigned to the visual culture they experience every day.
I want to challenge students to reconsider their preconceived ideas about creativity, art, and visual culture. I hope that students will leave my classroom with the ability to navigate and dissect the visual culture they encounter in their day-to-day lives, and I want them to know they do not have to identify as an artist to find joy in creating.
Artist Statement:
Reminiscent of a time and place, the history of a material is found on its surface. My work consists of quilts, embroideries, and dimensional pieces that sprawl from traditional forms. I gather and accumulate thrifted fabrics, like bed sheets and clothing, for their outdated patterns and worn quality, which evoke a sense of nostalgia. The character of each material and intuitive nature of the process, informs the sincerity that is important to my practice. In this effort to be transparent, I leave the edges of my pieces unfinished, exposing each layer. While the personal history of each material is not always evident in the final work, the embedded narrative is critical to my investigation of the viewer’s subjective relationship to material.
The act of concealing and revealing, physically as well as conceptually, guides viewers to explore further the narratives I’ve mapped out. Like constructing a puzzle, an answer might be provided in one moment, then contradicted in the next, furthering the chain of questioning and investigation. Thresholds act as framing devices that crop sections of an image, fragmenting the experience of the whole. The use of domestic, interior imagery creates a space to be entered, where associations and discoveries can be made. Thresholds tempt the viewer to move through each space at will. I am interested in making the viewer aware of how they occupy spaces, specifically, to consider the stories they attach to interiors based on the patterns and textures that fill them.
CV:
Contact: lizzieagnesgreen@gmail.com