Fiber Art: Fiber in My Painting Practice

What is fiber Art and why am I incorporating it into my fine art paintings?

Over the past couple of years, I’ve been slowly integrating fiber techniques into my painting practice—beads, string, textile remnants, embroidery, and other tactile elements that exist somewhere between surface and structure. It’s not a random decision or a fleeting experiment. In fact, the roots of this shift trace back to my university years.

Closeup of the beadwork on 'Eat That Frog'

I majored in art and design, with two minors: illustration and fiber & fashion design. While illustration sharpened my skills in observation and composition, it was the fiber minor that brought out a different side of me. I loved working with fabric, dyes, yarns, and beads. I was fascinated by the way surface design and weaving techniques could communicate texture, emotion, and rhythm without needing a single line of figuration.

Why Fiber? Why Now?

There are a few reasons why this part of my background is re-emerging in my current work. First and foremost, fiber adds abstraction. My work tends to be figurative, grounded in the human form or character. The addition of fiber introduces something less literal such as an element that isn’t fully "readable" at first glance. It allows for texture, intrigue, and an emotional charge that complements rather than competes with the painted figure.

Secondly, I’ve always been a painter who builds up layers in thin applications of paint, gradually developed to create depth. And while I’ve tried incorporating textural interest with the paint itself, the results often felt forced or messy. But when I returned to fiber—stitching, embellishing, layering fabric—the dimensionality felt much more in tune with my sensibility. It wasn’t just about making the surface physically textured; it was about extending the visual language in a way that felt authentic.

A Shift In the Landscape

Another motivation has been watching the fiber arts world shift. Historically, fiber has been relegated to the craft sphere, often seen as decorative or domestic rather than conceptual or expressive. But that’s changing. We’re witnessing a long-overdue revaluation of textile-based practices, and I’m both inspired by and proud to be part of that shift.

There’s a unique challenge in bringing materials like yarn, felt, or sequins into fine art. These materials carry associations (some cultural, some aesthetic) that can easily feel out of place in a contemporary painting. In fact, one of the biggest obstacles I’ve faced is avoiding what I call the “craft fair” effect. I don’t want these elements to feel like cheap decoration. I want them to feel essential.

That’s why the fiber portion of a piece often takes more side studies and trials than the painting itself. I need to be absolutely sure that the stitched or layered element belongs visually, emotionally, and conceptually (and taken seriously).

Closeup of the surface design on 'Make A Deal With God'

Looking Forward

Ultimately, I see this integration of fiber as a welcome challenge, one that pushes me to rethink surface, structure, and narrative. It lets me experiment across mediums while remaining grounded in a core practice. I’m still figuring it out, but I already feel that it’s going to become a more consistent part of my visual language.

Textiles hold memory and association. And as painters, we’re always looking for new ways to embody a feeling on a two dimensional surface. For me, this is one way to do it that feels right.