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Artist ID: 2404

Sitting at my grandmother’s feet, the thunderous roar of the sewing machine would cease with a sudden clank of the lever falling into place, the sound of an unraveling spool, led to the severing of this single tie. Excess would be snipped away, and with each pass of the metal edges, the pile would grow larger. I was lured to these remnants sinking into the carpeted floor, their frayed edges and abstract bodies. Making something out of this rubble was my mission, knotting ragged ends together and wrapping the whole bouquet of mishmash with, what felt like, miles of unwanted thread. What I didn’t realize at the age of three, was that I would be forever imprinted by these moments.Similar to most craft based processes such as knitting, crocheting and sewing, my practice is process-based. I am aware that I am influenced by the artistic traditions such as craft, labor, and the act of making. There is evident interest in domestic materials, material culture, and what these tactile objects are capable of symbolizing. When considering their inherent properties and limitations, I tend to negate the objects’ use, or function for that matter, in favor of its aesthetic capacities. Through delicate and sometimes aggressive material manipulation, viewers are challenged to question the traditional connotation of such ‘everyday’ materials.
The pairing of formal aesthetics with topics that shock, entice, or disturb serve as staples in my work. The woman as creator, woman as the oppressed and the self perception of the woman are just some of the themes explored throughout my practice. In hopes to make these subjects more approachable, I attempt to attract viewers with formal aesthetics by beautifying the grotesque, unjust, and bizarre. I believe the visual lure of my work lulls the audience into a false sense of security so that they can then be informed by the work. The matters I respond to are those that continually go unnoticed, by choice, and through my work I strive to awaken viewers to the reality of these overlooked truths.

Tenee’ Hart is an 'unconventional' fiber sculpture artist pursuing themes of feminism that delve into topics of beauty, anatomy, and the inequality of women. Wrapped fibers, gushing forms, and the manipulation of the ‘everyday’ are crucial components within Hart’s works. Her abstract forms remain committed to an intriguing physicality that comes from palpable and intentional material usage. Hart hails from Virginia, where she received her Bachelor of Arts degree from the University of Mary Washington in 2011. Later, Hart earned her Masters of Fine Arts degree from Florida State University, where she has been teaching, at the college level, since the completion of her degree in
2015. Beyond her role as an educator, Hart is the sole Graduate Advisor + Coordinator for the Department of Art at FSU.

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