For Artist Diedrick Brackens, Weaving Is An Act of Religion

. Spread across two of the gallery’s locations in Tribeca and Chelsea, the show includes a series of large-scale textiles that map out a fictional place, drawn from the artists own biography, and broader diasporic movements throughout American history. In conversation, Brackens explains why his weaving practice is an act of religion and ritual and the growing proliferation of textiles within the contemporary art world.ESSENCE HARDEN: Hi, everyone.

BRACKENS: Well, I think everyone here knows, but I make textiles. I feel like the loom, the practice of weaving brings me into contact with a lot of metaphors that we hear every day. It touches everything. It’s about language, it’s about magic, it’s about time travel, it’s about narrative and storytelling in a particular way. But it’s something that most people do not have a direct relationship to.

HARDEN: There’s also this romantic aspect within the work that comes through. I was reading this review from Hilton Als, and he references the Black Romantic Exhibition at the Studio Museum of Harlem. It was like 20 years ago, and it referenced your work. I was like, “Oh yeah, this long tradition of seeing sensuality and desire between black men.” It might feel like a little bit of an aside, but I think it’s part of the storytelling narrative that happens within the visual field for your work.

I like for people to see the backs of the works because even if they don’t weave or have any sense of it, seeing both sides allows people to understand the construction a little bit more. Oftentimes the figures don’t show up on the back, they don’t register at all. So it’s almost like seeing the landscapes without the people in them and then seeing the landscapes with the people. So there’s this interesting flip to me.

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