About the Artist
A graduate of Cooper Union and a lifelong New Yorker, Marilyn Henrion is represented in the Smithsonian Institution's Archives of American Art. Her award-winning works have been included in solo and group exhibitions in museums and galleries throughout the U.S. and abroad. The works are in major corporate, museum, and private collections, including the Museum of Arts & Design in New York, the Newark Museum, Newark NJ, the Central Museum of Textiles, Lodz, Poland;the International Quilt Study Center Museum, Lincoln, NE, the U.S. State Department Embassy in Pnom Penh, Kaiser Permanente, Lucent Technologies, Avaya Corporation, Carnegie Abbey Country Club, and others, have also been featured in numerous publications, including "Women Designers In The U.S.- 1900-2000", published in 2001 by Yale University Press. Among the grants she has received, was one awarded in 1996 by The Artslink Partnership, devoted to fostering excellence in the arts between the U.S. and countries of the former Soviet Unio n In 2005, she was awarded a Fellowship by the New York Foundation for the Arts. With her 21st solo exhibition in 2015 at Noho-M55 Gallery, the artist will celebrate her 83rd birthday.
About the Work
Celebrating that irregular and intimate quality of things made by the human hand, the artist’s works pay homage to traditional textile forms and hand needlework techniques, while transforming them into works of art that reflect contemporary aesthetic sensibilities. In Henrion’s mixed media works, the ancient folk art technique of hand quilting is combined with modern technologies of digitally manipulated photography and pigment printing to create a further layering of past and present. Inspiration is derived from the urban geometry of her New York City roots, as well as the wonders of the natural world experienced in her travels and at her studio in rural Pennsylvania.
About her work, art critic Ed McCormack writes: “This major American artist is one of precious few who have taken the textile medium far beyond its brief popularity during the feminist era and continued to broaden its possibilities and elevate it to the highest level of contemporary mainstream aesthetics.”