Exhibition Statement

The Weight We Weave

Introduction

What does your pain look like? Is it tangible, like a weight on your shoulders, or is it in your mind? The Weight We Weave invites audiences to explore these questions through an interactive tapestry where participants mark where they feel their burdens lie on a human silhouette, whether physically, emotionally or mentally. Providing a space for connection and reflection, The Weight We Weave reminds us that healing is a process we experience together.

Literature Review

Mental health issues vary and often lead to isolation. According to US news, 70% of college students out of 3,400 surveyed have struggled with their mental health, avoiding support due to past experiences, stigma, or cost. (Wood, 2024) Effort is needed to provide college students the support they need to alleviate their burdens and implement healthy coping strategies.

Art has long served as a medium to express mental health struggles. Shawn Coss’s “Inktober” series depicts haunting portrayals of mental health disorders, demonstrating how visuals can spark empathy and awareness (Coss, 2018). The therapeutic approach of body mapping similarly uses visual representation to help individuals process and articulate difficult experiences (Barnes, 2024). Body mapping has been shown to provide stability and act as a container for the user’s emotions (Barnes, 2024). Both examples demonstrate how art can offer a platform for pain and healing through visual engagement. 

 Another influence is former Art Scholar Vanessa Senk, whose work focused on nostalgia through textile layers (Senk, 2024). Her complex themes instilled feelings of warmth and sentiment which inspired The Weight We Weave. Like Senk’s work, this project invites introspection while also creating a space of connection, reflection, and understanding.

Methods

Integral techniques in fabricating the body map for The Weight We Weave are tapestry and intarsia crochet, a method where separate yarn colors create clean stitches. Crochet also relates to mental health as its repetition parallels the therapeutic nature of managing stress, while the interactive process helps bridge the gap between individual and collective experiences. 

Focused groups were utilized to gather feedback on the visual and emotional clarity of the initial iteration. This consisted of 3 separate sessions with 2-4 people lasting 10 minutes. Post-Interviews were also conducted to explore audience connections and emotional responses to the work. Questions such as “What areas of the presentation of information are unclear?” and “Does this interaction convey the project’s themes?” were asked, along with space for additional comments. These mock exhibitions significantly influenced this project’s development, leading to improvements in the clarity of instructions and contextual information. Conversations with artist Vanessa Senk better refined my research and goals. Combining interaction and research based approaches, this project sparks empathy and dialogue about mental health.

Audience & Impact

Though anyone can engage with this work, college students are the central audience. Many students face mental health challenges due to stress, transitions, and expectations (Wood, 2024). This project encourages students to acknowledge their experiences with mental health and build a visual narrative of shared experiences. The interactive elements elicit conversations and awareness about peers’ physical and mental burdens. As more people participate, the tapestry becomes a human map of self-analysis, understanding, and connection. 

This project brings attention to mental health struggles but also deepens understanding of how healing can be achieved through art and community. Drawing from the artist’s experience in crochet and personal battles with mental health, The Weight We Weave aims to bridge the gap between art and awareness.

References

Coss, Shawn. “The Art of Shawn Coss.” The Art of Shawn Coss, Oct. 2018, www.shawncossart.com/#/inktober-illness-series-i/.

Barnes, L. Gorell, et al. “‘Where Do You Feel It Most?’ Using Body Mapping to Explore the Lived Experiences of Racism with 10‐ and 11‐year‐olds.” British Educational Research Journal, vol. 50, no. 3, 2024, pp. 1556–75, https://doi.org/10.1002/berj.3980.

Burns, P., and R. Van Der Meer. “Happy Hookers: Findings from an International Study Exploring the Effects of Crochet on Wellbeing.” Perspectives in Public Health, vol. 141, no. 3, 2021, pp. 149–57, https://doi.org/10.1177/1757913920911961.

"Home." Arts Scholars - Vanessa, University of Maryland, https://sites.google.com/umd.edu/artsscholars-as-vanessa/home. Accessed 6 Feb. 2025.

Kirkbride, James B, et al. “The Social Determinants of Mental Health and Disorder: Evidence, Prevention and Recommendations.” World Psychiatry : Official Journal of the World Psychiatric Association (WPA), U.S. National Library of Medicine, Feb. 2024, www.ncbi.nlm.nih.gov/pmc/articles/PMC10786006/.

Wood, Sarah. “Mental Health on College Campuses: Challenges and Solutions.” US News & World Report, U.S. News & World Report, 6 June 2024, www.usnews.com/news/education-news/articles/mental-health-on-college-campuses-challenges-and-solutions.

Acknowledgements

Thank you to Heather Bremenstuhl, Harold Burgess, and Irene Park for their guidance, encouragement, and wonderful energy throughout the entire Arts Scholars program, and especially during my Capstone. Their mentorship has been invaluable to my development as a young adult, challenging me to be uncomfortable, appreciate art in every aspect of life, and have fun!

Thank you to my friends and strangers who took time to test my Capstone in its early stages. They were so kind addressing my concerns on a project that meant so much to me. 

Thank you to the students in my Capstone class who are so talented, creative, and such a joy to work with.