From October 12, 2022 to January 29, 2023, the Textile Museum of Canada in Toronto is presenting an exhibition called u.n.i.t.y., featuring the work of Calgary artist Simone Elizabeth Saunders. The show comprises hand-tufted character portraits that are dramatic, vibrant, original in concept, and showcase the artist’s high level of technical expertise.
Simone Elizabeth Saunders is a classically trained actor who spent over a decade working in various aspects of film and theatre before exploring the visual arts in an academic setting. While studying for her BFA at Alberta University of the Arts, the artist had planned to focus on interior design working with wallpapers and fabrics, but that all changed when she discovered the fibre arts.
Simone’s tufting technique is self-taught. She uses both a mechanical tufting gun and a punch needle technique, reserving the hand-held tool for when her body is sore from the rigors of using the mechanical device. Saunders has developed considerable skill in this medium, using it with such dexterity that her pieces, composed of threads of acrylic, wool, and velvet, are finely nuanced, producing a painterly look. Fine details appear to be rendered by a brush stroke rather than created from fibre. This is particularly impressive when you learn that each piece is worked from the back of the warp and is seen only from behind while it is being created.
An afternoon talk given by the artist was illuminating; she was generous in her explanation of the thought processes behind each piece, describing how and why she included not only the images of the Black women but also the additional symbolism contained in each piece.
Simone Elizabeth Saunders, Cosmos: Creation, 2021; hand-tufted velvet, acrylic and wool yarn on rug warp; 64 x 64 x 1 inches / 163 x 163 x 3cm. Courtesy of the Artist and Claire Oliver Gallery. Photo by Darren Rigo.
So as not to reinforce negative stereotypes used to describe Black women, Simone refuses to even vocalise these terms, shifting the focus to showcase her women “as they really are,” soft, vulnerable, and sensual. Embodying these attributes herself, she weaves a spell not only in her work but also with her words as she describes the mindfulness of her work practice.
“Honouring my ancestors, being grateful for their legacy in me. Lighting incense to awaken my studio. And I always clean up my space after a day of creating. Sweep and stack my yarn. It contributes to my mindfulness and in starting each day anew.”
It wasn’t surprising to hear that Simone aims to create a new character in each piece, no doubt drawing from her years spent as an actor. She explained that she begins each piece with the eyes then moves out from there. The backgrounds are worked later, after the image of the woman has been completed.
Her commitment to creating truly beautiful, magnetic eyes means that each piece engages the viewer and holds your gaze, giving the feeling that they are looking right into your soul. Once this eye contact is made the eyes appear to follow you around the room, meeting your gaze from every vantage point in the gallery.
Simone Elizabeth Saunders, Excellence, 2021; velvet, acrylic and wool yarn on rug warp; 60 x 60 x 2 inches / 152 x 152 x 4cm. Courtesy of the Artist and Claire Oliver Gallery. Photo by Darren Rigo.
Among her inspirations, Simone cites contemporary popular music icons, symbols from her Jamaican heritage, and art history references; these diverse influences combine to create her unique statement.
The works within the show span Simone’s tufting career. Smaller pieces created during her time at university, a circular shaped piece named Excellence (2021), and newer pieces, allow us to see the trajectory of the artist’s work.
The exhibition is dominated by the series Four Queens (2021): Queen of Diamonds, Queen of Clubs, Queen of Spades, Queen of Hearts. Inspired by Czech artist Alphonse Mucha’s art nouveau work Precious Stones (1900), Four Queens presents four different aspects of Black women: Black Power, Black Dreams, Black Magic, and Black Love. Each queen has her own striking personality, projecting confidence and self-assurance.
Installation view of Simone Elizabeth Saunders: u•n•i•t•y• Photo by Darren Rigo. (Click to enlarge.)
Simone’s use of colour is masterful. In her earlier work the artist used multiple colours to depict skin tonal values, whereas in the Queens series the women’s skin tones are more representational. Close inspection, however, reveals the clever use an unexpected broader colour palette, including purple. In her newer works Simone has used a sparkly black yarn which brings a heavenly bodies, star-like quality to her depiction of skin.
Even though the exhibition comprises a limited number of pieces, they are so striking that you spend a long time with each one. The overall feeling of the exhibition is very powerful and uplifting; it lingers in your thoughts long after you leave.
Simone Elizabeth Saunders, Alicia, 2020; hand-tufted velvet, acrylic and wool yarn on rug warp; 34 x 24 x 1 inches / 86 x 61 x 1.5cm. Courtesy of the Artist and Claire Oliver Gallery. Photo by Darren Rigo.
Ryan Doherty, the original curator of this exhibition at Contemporary Calgary, in Alberta explains how he arrived at the look of the exhibition, allowing the work to shine:
“My approach is always to let the artist guide that process. Simone and I worked closely together to consider the best space, the best layout, the best lighting. Two of the most important decisions were all Simone’s i.e., painting the walls black, which truly made the work dazzle and also immersed the work in a context of ‘Blackness’ which I think was important. Secondly, she wisely felt the works should be hung higher than typical such that viewers were looking up to her portraits, her queens, as a gesture of honour and respect.”
He continues, “I’ll add just how proud we are of Simone; watching her rapidly rise to great success has been a real privilege. She’s just getting started.”
Installation view of Simone Elizabeth Saunders: u•n•i•t•y• Photo by Darren Rigo.
Artist and designer Oris Eddu had this to say about Simone’s exhibit:
“For so long, people of colour were not represented in pop culture and art. Stepping into the museum and seeing Simone’s work I was in awe. Not just because it’s art, but it’s art with a meaning, embodied with color, rich texture, and the representation of people of colour. I felt seen. I felt heard. […] I felt the energy, commitment, passion, and emotions. I felt it all. It’s more than art. It’s a feeling. That’s what art does. It helps to tap into your subconscious, into your soul. Her work is rooted in emotions and stems out in beauty. Simone’s work is beauty. I loved it. Every thread. It has a meaning.”
Oris Eddu, visiting the exhibition. Photo credit Oris Eddu, used with permission.
“I’m glad art like Simone’s is helping the narrative to change. Because we are beautiful, colorful, happy, and joyful! We need more POC artists to exhibit their work to the world because we are magic!”
Fiona was able to grab a few moments to chat with Simone about her work:
Fiona Ellis: I love how you described totally falling in love with tufting when you discovered it. Have you tried and other textile mediums? Did you connect with any of them?
Simone Elizabeth Saunders: I have done silk screening and different techniques of dyeing and painting fabrics, which I really enjoyed. Weaving I am very taken with, but particularly weaving on the jacquard. However, tufting and punch needle is perfect for me, for the expressions I love—drawing and weaving—I am hooked!
FE: How often do you shop for fibre? Do you stockpile enough for the whole project? Have you ever run short?
SES: My happy place (besides tufting) is shopping for yarn! I try to acquire every shade available, whether it’s what I need for my current textile or not, I know which yarns I have, and I try to keep my collection flush. I don’t run out of a colour that I’m using anymore, but I used to! Which is not fun—breaking out of the zone to run to the store—especially if the dye lot colour is slightly off when I get the new skein. But NOW I can determine ahead of time approximately how much yarn I need, so thankfully that hasn’t happened to me in a while.
FE: You cite many different people and art forms that inspire you, is there something maybe unexpected that you find inspiring?
SES: Using music and sound as colour is surprising. The way in which a melody speaks to me when creating, visualizing a combination of pattern and hues from it. Often, I will write a poem before starting a work, and how the words ignite the inspiration for colour amazes me. And throughout the creative process, allowing myself the time to daydream and meditate on how colours speak to one another, nested together in the textile, and the narratives they play is an important role in the composition of each piece.
FE: How does it feel to see your work moving from place to place and gaining exposure to a wider audience?
SES: I am so honoured. Being acquired by museums and prominent collections on an international level promotes utter joy. Truth be told, it is always difficult for me to let go of each work; I become so invested in each one. But knowing that each work is on a journey of its own, being SEEN, is the greatest gift I could ever ask for.
Simone Elizabeth Saunders poses with her work, at the opening reception. Photo by Fiona Ellis.
If you can’t make it to the Textile Museum of Canada before Jan 24th, 2023, a new series from Simone will be opening on March 17th, 2023, at the Claire Oliver Gallery in Harlem, New York.
Featured image: Simone Elizabeth Saunders, It Matters, 2020; hand-tufted velvet and acrylic yarn on rug warp; 32 x 23 x 1 inches / 81 x 58 x 1.5cm. Courtesy of Dawn van de Schoot. Photo by Darren Rigo.
