Erica Licea-Kane

  • Erica Licea-Kane

    In-Between #2, fabric, acrylic medium, acrylic pigment, 20 x 20 x 2 inches, 2015.

    In-Between #2
  • Erica Licea-Kane

    Seen/Unseen, fabric, sewing, acrylic medium, acrylic pigment, 36 x 48 x 3 inches, 2014.

  • Erica Licea-Kane

    In-Between #3, fabric, acrylic medium, acrylic pigment, 20 x 20 x 2 inches, 2015.

    In-Between #3

Artist Statement

I create non-objective artwork with an elaborate, multi-layered process that brings order and chaos into dynamic conversation. The works reference the natural world and my training in textile art. Over the course of my career, fiber and nature-inspired forms remain constants, but each new body of work marks a step forward in an exploration that is both material and intellectual.

My current works extend the abstract language that I have developed by building a complex surface with many smaller parts. I cut, weave, and layer the fabric, using repeating organic patterns built from a grid understructure and reinforced with acrylic medium. Some layers provide symmetry, and others interrupt that stability. I add oblique ridges to the surface with couching, a sewing technique. The repetitive and delicate suture marks that build these ridges allude both to damage and repair. The resulting compositions possess dramatic textures that are enhanced by a wide range of color. I select shifting values and lines that may recede, approach or fade gradually away. Although non-objective, the works could be read as an interpretation of the natural world, such as webs or rivers, or as decoration, such as embroidery and patterned fabric.

My choice of media has autobiographical significance, as each piece begins with a base of fabric. My mother spent hours sewing throughout my childhood, and I visited many fabric stores with her, where I learned to enjoy the beauty and subtle nuances of textiles.

It is my intention to not give too much away, to allow mystery to exist around my process. Questions about how the art was made and the degree of labor involved become a part of the viewers' exploration. As embroidery and weaving are evidently time-consuming processes, I allude to those traditions, but also add new remarks within my own visual vocabulary.