Going from aircraft engineer to quilter is as extreme a career change as you can get. But 75-year-old artist Carolyn Mazloomi did just that over five decades ago, then made a name for herself in the world of textile arts as the founder of the African American Quilters Guild of Los Angeles and the Women of Color Quilters Network. As a black woman who grew up in the Jim Crow South, Mazloomi uses her distinctive black-and-white quilting technique to depict and honor heroic African American leaders and shed light on historical moments that have been marginalized.
“Quiltmaking is a tradition and form of expression that is both intimate and cherished,” Mazloomi says of the power of the medium. “Every person has an intimate relationship with fabric. It is the first thing we are wrapped in at birth and the last thing that touches our bodies after we die. Through the nuances of textiles, difficult stories can reach audiences of all identities and generations, from a perspective of care, comfort, peace and nurturing.”
The Claire Oliver Gallery in Harlem presents a solo exhibition of Mazloomi’s work from September 3 to November 2 under the title: Whole Cloth: Stories in Black and White. On the occasion of Mazloomi’s very first gallery exhibition Whole cloth features a collection of her large-scale quilts that tell the often overlooked impact of black civil rights activists, leaders and revolutionaries on American history. Mazloomi reflects on her work as a quilter, the power of the medium to address difficult topics, and the Whole cloth Exhibition below.
Through the nuances of textile, difficult stories can reach audiences of all identities and generations with a sense of care, security, peace and nurturing.
How would you describe your ethos as an artist?
I am committed to using quilting as a tool for storytelling and cultural expression.
You trained as an aircraft engineer before becoming a quilter. How did this major career change come about?
I trained as an aeronautical engineer and was very unhappy in my job. I didn’t work with anyone who looked like me and, most importantly, work kept me away from my three little boys. I wanted to do something where I could be close to my children; I didn’t want them to be with a nanny or in daycare. My first obligation in life is to my children and my role as a mother and everything else has to fit within that parameter.
My brother and sister were artists, so I decided to give it a try. Instead of paints, I use textiles. Making art gave me the opportunity to work at home and be with my children. I made the decision to become an artist 55 years ago and I don’t regret it.
68 x 69.5 inches | 172.72 x 176.53 cm; Right: Ruby’s courage2024, poly-cotton fabric, cotton thread, batting, fabric paint. 68 x 67 inches | 172.72 x 170.18 cm
What does quilting offer you as a medium that other art forms don’t?
There is an endless variety of materials and techniques available in quilting. Most people are familiar with quilts. Since I enjoy making work that revolves around social and political issues, using quilts to tell a story offers a gentle approach to difficult topics. Issues related to race are especially hard for people to accept. Looking at a narrative quilt makes it a little easier.
Using quilts to tell a story allows for a gentle approach to difficult topics.
What topics do you cover in the Whole Cloth: Stories in Black and White Exhibition? What was your process in putting together this exhibition?
Most of the work in the exhibition is about Black history – the good, the bad and the ugly. The work is from my sketchbooks and notes. Over 30 states have placed restrictions on the teaching of Black history, which is why it is so important that these stories are told, otherwise they would be unknown. There will be 55 quilts in this series and I plan to write a catalog. I also hope to have the exhibition travel.
More than 30 states have enacted restrictions on the teaching of Black history, which is why it is so important that these stories are told.
What experience do you hope visitors to the exhibition will have?
The goal of the exhibit is to educate the public about aspects of American history they may be unfamiliar with and to raise awareness about social justice issues. I want visitors to understand and challenge social injustices so that we can change the oppressive systemic patterns of racism in this country.
What legacy do you want to leave to the art world?
I hope that the quilts I have made will be a catalyst for social change, raising awareness, challenging norms, and fostering dialogue. As the founder of the Women of Color Quilters Network, the oldest and largest organization of Black women quilters in the country, I have played an important role in documenting and preserving the history of African American quilts and ensuring that these stories and traditions are recognized and valued.
Through the books I have written and exhibitions I have curated for over 40 years, I have fostered a sense of community among Black women quilt artists. The Women of Color Quilters Network has become their home, and the network is my legacy.
Header image:
Hands up… don’t shoot #2
2024, poly cotton fabric, cotton thread, cotton wadding, fabric dye.
58 x 102 inches | 147.32 x 259.08 cm
