More than domestic crafting techniques, the weaving and sewing in my work engages with deeply meaningful spiritual processes. The ritualistic and meditative qualities of my process bring to mind the word Tantra, a Hindu and Buddhist text that teaches meditation and ritual practices. When the word Tantra is broken down to its Sanskrit roots it translates as web or warp, as in weaving, the balance of opposing forces. The warp or web within each individual, for example, would be the male- female, conscious- unconscious and breath- outbreath relationships.
In a related tradition, the ancient Greeks identified women and her language in literature as comparable to that of her weaving. The woman was knower of both truths and untruths and it was in the weaving of language that the woman had power. Women were seen as both prophets and teachers. They were tricky and alluring imitators of words. The biblical story of Eve conveys a similar idea: when Satan entices Eve to be knower of both truths and untruths in Genesis 3:5, "For God knows that when you eat of it your eyes will be opened and you will be like God, knowing good and evil.
Sigmund Freud once said, "It seems that women have made few contributions to the discoveries and inventions in the history of civilization; there is however one technique which they may have invented- that of plaiting and weaving."
There is still so much of this language connected with being female, maybe not to the extent of Freud's stereotype, but women still face suppression. I wanted to represent the sacred aspects of being female. It is much more than sitting home weaving and plaiting, cooking and cleaning, or being a wife and a mother. There is an intricate web of what it means to be a woman and there is a quality of spirituality that is attached to the word female. She is a mystery.
The work also engages in conversation with a white, male dominated art historical canon. It was not until the late 20th century that women began to be recognized for their work. Some of this work included textile arts, which would be considered craft or decorative art, not fine art. By unweaving and reweaving or further manipulating the canvas into something new, I am regenerating my language in a playful approach to painting. These bodies of work are having a silent conversation with the history of women, the sacred art of prayer and secrets of the heart. The process of unweaving, reweaving, sewing and continuous wrapping allows for a time meditation and alone time, it is in these moments when I think about what Helen Frankenthaler once said, "There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.
-Tiffany Nicole Hilton
