Tag: Vaneecke

Nana (after anonymous Flemish master)

Nana (after anonymous Flemish master)

I am very excited to complete the first two works of my new series, Family Portraits.  This series lies at the intersection of heritage and family history, art history and digital technology, craft and fine art, grief, memory, mental illness, addiction, and love.

I am 3/4 Belgian-American, and I am lucky to have visited Belgium several times.  This series involves combing through boxes of family photographs and researching the art of the Flemish masters.  A digital collage is printed onto cotton fabric, layered with lace, batting, and backing and stitched by and/or machine.  Each portrait is an homage, an exploration of family dynamics and grief.  All is done without the use of AI.

When I look at this work, I cannot believe the painter is unknown, let alone the dressmakers.  That dress is gloriously ridiculous.  It must have taken teams of lacemakers and dressmakers months to complete.  The dress itself is a masterpiece, and the painter painstakingly recreated each strand of lace with the stroke of a brush.

Countess Ursula’s stunning gown inspired me to create an homage to my Nana, Rosella Van Belle, my mother’s stepmother.  Nana was the Martha Stewart of here day.  She cultivated a lovely rose garden, was a great cook, dressmaker, and hosted a magical Christmas Eve celebration throughout my childhood.  It was always a highlight of my year.

Portrait of Ursula, Countess of Solms-Braunfels, Anonymous circa 1630.  

Countess Ursula’s stunning gown inspired me to create an homage to my Nana, Rosella Van Belle, my mother’s stepmother.  Nana was the Martha Stewart of her day.  She cultivated a lovely rose garden, was a great cook, dressmaker and needle worker.   She hosted a magical Christmas Eve celebration throughout my childhood.  It was always a highlight of my year.

collage of family photos into painting by anonymous Flemish master
Nana, (After Anonymous), by Mary Vaneecke 2026

The digital collage includes a picture of her grandchildren singing Christmas carols, her Singer sewing machine, a fantastic bit of handmade lace, and buttons, patches, and the cover of a needle packet from her sewing box.  There is some of her best-loved cookies on the table, along with a Christmas stollen.  She is crowned with one of her bracelets.

See the first work in the series here.

Where Do We Go From Here? IV

Where Do We Go From Here? IV

Red, yellow, and green artwork filled with small arrows. Arrows on the right side point to the right and arrows on the left side point left. The colors of the arrows are arranged to form large arrows pointing up. by Mary Vaneecke
Where Do We Go From Here? by Mary Vaneecke

In the Where Do We Go From Here? series, I explore way-finding in a complex and chaotic world.  This piece was inspired by the ancient Peruvian Wari textile below, and the American quilt block called ‘flying geese.’  I love to combine elements of old and new to create a new ‘species’ of textile art.

Peruvian Wari textile made 600-1000 AD. From the collection of the Tucson Museum of Art.

 

 

 

 

Where Do We Go From Here?/The Center Does Not Hold

Where Do We Go From Here?/The Center Does Not Hold

Where Do We Go From Here?/The Center Does Not Hold, 35'' x 26'', 2024 by Mary Vaneecke
Where Do We Go From Here?/The Center Does Not Hold, 35” x 26”, 2024 by Mary Vaneecke

A ‘deconstructed American flag,’ this work’s title references Yeats’ poem, The Second Coming.  It is layered hand-dyed silks, fused and hand-stitched. The Where Do We Go From Here? series explores way-finding in a chaotic world.

Where Do We Go From Here?/The Center Does Not Hold, detail. By Mary Vaneecke
Where Do We Go From Here?/The Center Does Not Hold, detail. By Mary Vaneecke