piecework
legacies
experimental
quilting
co-curated by
in south florida
nico hough
pangea kali virga
april 10 - july 2 2026
MIAMI-DADE PUBLIC LIBRARY
featuring the artwork of
lauren baccus
regina jestrow
bex mccharen
emily peters
carrie sieh
pangea kali virga
carrington ware
Quilts hold an essential place in the American art canon. Since the 1700s, quilting has been a creative tradition of community and continuity, most often carried forward by women-identified creators whose contributions went unrecognized by the wider art world until not long ago. This practice, rooted in storytelling, social justice, thoughtful reuse of old materials, (it stands as one of the earliest forms of artistic upcycling), and the spirit of collaboration across divides and generations have given the medium a remarkable staying power. This show presents seven contemporary female and non- binary local artists exploring the contemporary dimensions of this American tradition.
cyanotype quilt, QUEER ATLANTIC SERIES, by Bex Mccharen, 2025
“Implicit in all of my work is labor; the joy of labor, the burden of labor, the processes of transformation, and the work of our lives that often remains unresolved. The invisible labor of the self-construction/preservation, itself parallels the invisible labor of cloth and clothing that women have historically performed and continue to produce.” --Lauren Baccus
JOIN US FOR THE ARTIST RECEPTION
APRIL 10 2026
MIAMI-DADE PUBLIC LIBRARY CENTRAL BRANCH
LONGER WRITE UP
ARTISTS- questionnaire answer, bio, + WORKS
DESCRIPTION
WALL TEXTS
NOTES ON THE SHOW
CORRESPONDING PROGRAMMING
RESOURCES, REFERENCES, RESEARCH
“Implicit in all of my work is labor; the joy of labor, the burden of labor, the processes of transformation, and the work of our lives that often remains unresolved. The invisible labor of the self-construction/preservation, itself parallels the invisible labor of cloth and clothing that women have historically performed and continue to produce.”
Lauren Baccus
our gordon is gone, lauren baccus, 2022, mixed fiber
Lauren Baccus is a Miami-based arts professional with a focus on education and engagement. Driven by a deep passion for art's role in shaping our understanding of the world and ourselves, Lauren specializes in creating experiences that facilitate accessibility and leverage authentic relationships. Her ongoing scholarship focuses on the intersections of art, identity, and performance, in contemporary Caribbean art and material culture.
our gordon is gone (detail)
ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ
on keeping touch, lauren baccus
“Things that inspire and influence my work are quilt history, and american quilt history. how different people use quilts in different ways, very much connected with women's rights and political protest. how people survived and how people memorialized other things that were going on in history...the word quilt, i like it because it kinda connects me to the history.- in one word i explain a whole lot"
regina jestrow
Glitter & Gold 3
I, by regina jestrow, ink on burnt muslin, sequin tinssle fabric, silk satin, corduroy, coated nylon, muslin,batting, felt, thread, 49 x 37 in
americana quilt 70, by regina jestrow, 2021, assorted fabrics, hand-dyed fabric, batting, thread
62 x 63 x 0.5 in
Regina Durante Jestrow (b. 1978) is an Italian-American artist living and working in Miami, Florida who grew up in Queens, NY. Her artistic journey began in her formative years, as she learned sewing and crocheting from her mother, igniting a passion that would become a lifelong force. This connection to textiles is the bedrock of her artist practice, stretching and challenging quilt forms and structures while considering the activist values that shaped historic quiltmaking traditions. Reolcation to Miami allowed Jestrow to delve into quilting , becoming a source of solace and creative expression. In her Miami home studio, the sewing machine, a symbol of comfort and creativity continues taking center stage.
piecework legacies curator nico hough with artist regina jestrow, at baker hall gallery
americana quilt 61, by regina jestrow, assorted cotton, hand dyed cotton, batting, thread,13x 13 in
“Quilting is love and care and legacy”
BEX MCCHAREN
BEX MCCHAREN, (THEY/THEM) IS AN INTERDISCIPLINARY ARTIST, FASHION DESIGNER AND FOUNDER OF THE INCLUSIVE FASHION LABEL CHROMAT. THEIR WORK CREATIVELY REIMAGINES SUSTAINABLE FUTURES, CLIMATE OPTIMISM AND QUEER JOY. THEY STUDIED AT THE UNIVERSITY OF VIRGINIA SCHOOL OF ARCHITECTURE AND ARE BASED IN MIAMI, FLORIDA. A family heirloom quilt chopped and screwed. An antique quilt from Virginia passed down from my aunt, collaged with photos of ancestors, ancestral lands and family history on fabric. Investigating quilting as a medium to connect with a long line of quilters in my family tree as a mode of healing white settler generational violence and trauma.
Under the water, I am free, 2025, by BEX MCHARREN, Underwater photographs printed on linen, batik dyed cotton, embroidery thread, 35 x 35 in
ANCESTOR ALTAR, BY. BEX MCHARREN, 2024, CYANOTYPES ON COTTON, DIGITAL PHOTOGRAPHS, PAPER, UPCYCLED ANTIQUE QUILT, 80X40IN
BEX MCHARREN, 2025, at oolite arts, photographed by diana larrera
Water as solace,2023, by BEX MCHARREN, Quilted cyanotype on cotton, 21 x 33 in
“Quilting and piecework are just one way that we communicate the preciousness of fabrics. I pay homage to the inestimable value of textiles' origins and existence by reusing fabrics that would have been discarded by linen services, who have to throw away anything that is slightly damaged, or no longer wanted by their clients. To further honor the Earth, I dye these fabrics with naturally occurring mineral pigments in a process that uses 80% less water and heat resources, and 0% of the heavy metal mordants required by most dye processes in use today."
emily peters
EMILY PETERS, xxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
suññatā
BY EMILY PETERS, 2026, HAND DYED UPCYCLED TEXTILES, 30x47x6cm
diṭṭhadhammABY EMILY PETERS, 2026, HAND DYED UPCYCLED TEXTILES, 130x50x10cm
“"
carrie sieh
georg baselitz and little hans visit the lowell mill, by carrie sieh, 2014,linoleum prints and acrylic on tissue paper and pieced fabrics
carrie sieh in her studio at oolite arts, 2024, photography by world red eye
self portrait 1995-2022, BY carrie sieh, 2023, painted + pieced paper on canvas, wood lath strip, crocheted glow in the dark yarn and vhs tapes with spools
palimpsest #2 (pearl pierce), 2025, by carrie sieh, acrylic, paper, polypropylene, ink, polyester thread, silk, thread, pieced cotton fabric, 20 x 4o in
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
Carrie Sieh xxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Carrie Sieh xxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Carrie Sieh xxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Carrie Sieh xxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
“quilting is important to me because it makes me feel connected to a long lineage of people, primarily women, who sewed quilts to liberate themselves, craft community, and bring comfort. it is a timeless craft that threads utility with beauty and serves as a wonderful canvas for all of my ideas, hopes, and dreams. "
pangea kali virga
i watch the illusion with unbearable compassion, BY pangea kali virga, 2022, UPCYCLED TEXTILES quilted, appliqued, beaded, and embroidered, 50x60in
Pangea Kali Virga xxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
pangea kali virga in her oolite studio working on behold i show you a mystery, 2026, photo by pedro wazzan
history will always find you and wrap you in its thousand arms, BY pangea kali virga, 2023, UPCYCLED TEXTILES quilted, appliqued, beaded, and embroidered, 50x60in
Carrington Ware (b.1993) xxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
“my grandma made this quilt, it's a marriage quilt for my mom and dad, like a ceremonial quilt. it's a family heirloom. i've been trying to research the history of it, and apparently it is kind of like a korean way of making a quilt, and i wonder how did this end up in georgia. "
carrington ware
unbothered, BY carrington ware, 2019, quilted and appliqued textiles, 60x60in
details and in studio progress image, carrington ware, 2026, UPCYCLED TEXTILES, patchworked and appliqued
