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“Threads” Exhibit at The Re Institute Weaves a Narrative of Industry, Human Choices and Interconnectedness”


Calendar Entry: “Threads” New works by Kate Hamilton, Kingsley Parker, Sayzie Carr and Deena Lebow. June 1st to July 13th, 2019. Opening Reception Followed by Potluck, June 1st, 2019 4:00 – 7:00. The Re Institute, 1395 Boston Corners Road, Millerton, NY, 12546. FREE, www.thereinstitute.com, 518-567-5359.

The Re Institute is thrilled to present “Threads,” a group show with works by Sayzie Carr, Kingsley Parker, Kate Hamilton and Deena Lebow from June 1st to July 13th, 2019. Join us for an opening reception followed by a potluck on June 1st from 4:00 – 7:00 at The Re Institute, 1395 Boston Corners Road, Millerton, NY, 12546. For more information, visit www.thereinstitute.com.

The artworks in Threads were each made with materials more common to the textile industry than the fine art world. Woven through these works are themes of the everyday, consequences of choices, the trappings of modern industry and graceful reminders that we are connected. Kingsley Parker’s portraits of injured trees, our planet’s longest living beings, contrasted with Kate Hamilton’s monument to a t-shirt (the most universally worn but least valued, mass-produced piece of clothing on the planet) both remind us that our thoughtless daily decisions have catastrophic impacts. Deena Lebow and Sayzie Carr’s luscious patterned embroideries on cloth refer to the social and industrial history of textile, clothing and bedding production.


Kate Hamilton’s nylon sailcloth sculptures are translucent, scaled-up replicas of everyday clothing that she calls “giant monuments to nothing.” In Threads, Hamilton will install an enormous pair of overalls with legs extending into adjacent rooms, the bib open and the straps dangling passively. An equally oversized t-shirt will be suspended from the rafters above. They float in midair, held open as though by invisible bodies: both full and empty, playful and ghostly simultaneously. Hamilton is fascinated with the universality and life cycle of t-shirts. The cotton is grown in places like Texas or Africa, fabric woven in China, forms sewn and dyed in Bangladesh, then printed and worn across the world, yet only sold for a few dollars and ultimately destined for a thrift store or landfill. They are a ubiquitous symbol of our modern global economy. Hamilton designed sets and costumes for theatre productions in Zurich and New York City. In addition to exhibitions in galleries such as Carrie Haddad Gallery, Thompson Giroux Gallery and the Albany International Airport, Hamilton has installed public art internationally and across the Hudson Valley.


Kingsley Parker depicts dying trees as a metonym for the state of our environment under human domination. Each work is a portrait of an injured tree painted on discarded canvas drop-cloths that Parker has patched and sewn. He selects trees from a broad geographical region to indicate how widespread the damage. The scale of each painting confronts the viewer with a plea: we must assume responsibility for our choices before all the trees wither. Parker’s 40+ year exhibition history features venues across the country, including the Smithsonian Institution, Albany International Airport, Thompson Giroux Gallery, Condesso/Lawler Gallery, International Print Center, EXIT ART and Los Angeles Institute of Contemporary Art. His work has been reviewed in The New York Times, Art News, Time Out Chicago, New Art Examiner and Chronogram.


Sayzie Carr’s recent works are pieced from sections of her hand-dyed textiles and mattress ticking, a material formerly used in bedding production. She overlays a web of dots and sewn lines over each backdrop, making textured constellations that illustrate our interconnectedness. These tactilely delightful nets conjure the history of mattress production, invoking the realm of sleep, dreaming and the subconscious. Carr creates these playful, unified fields to remind us that we are connected to one another across time and place. Carr’s professional design work has been published in The New York Times Magazine and People Magazine. Her professional clients included The Wildlife Theatre at Central Park Zoo, Jack Lenor Larsen, Wave Hill, The Joseph and Anni Albers Foundation, The Brooklyn Children’s Museum and MTV. She has exhibited her art across the Northeast and internationally in London and Peru.


Deena Lebow’s professional career in the fashion and design world inform her artwork. She will exhibit a series of colorful hand and machine embroidered works on sewing patterns and linen. The genesis for these designs are vintage tracing paper pattern inserts from Burda, a magazine used by home sewists to create their own clothing. Upon viewing the dizzying, overlapping lines, one is puzzled by how anyone could decode this document to create functional articles of clothing. This work is Lebow’s homage to the ingenuity and cleverness of the home sewist, a vocation that is often overlooked and undermined in the category of “homemaking.” Lebow was the Craft Program Coordinator at Lincoln Square, Co-Founder and Producer of CommunalTable Art:Talk:Food, Founder and Facilitator of Craftogether NYC and needlework designer at StitchLAB Contemporary.