Miriam N. Omura
Materially, my artwork is the result of my interest in weaving, cloth, and the quality of layers. Currently, my body of work revolves around family history and what gets lost in translation. Family photographs have a place in recording the generations before us that lead to our own being. Notes and names penciled on the backs of photographs help add context; but, over time, we are separated from knowing the person photographed and become more speculative in our understanding.
Weaving inherently holds a mathematical grid, but dye work can flow freely beyond the grid. I use an Ikat influenced process of weaving, unweaving, and then reweaving dye painted portraits. This process causes the woven grid to shift and the portrait to become pixilated while maintaining the familiarity of the face. The result is a translation of a photograph which, in turn, is an interpretation of a memory of a person.