I am an interdisciplinary artist working in installation, textile, paper and books. The textiles are vintage and sourced linens, starting with lace belonging to my Italian and Irish grandmothers. Recently, friends and strangers around the country have sent lace; each donation is integrated into the story of the work. I am interested in the role of lacemaking in the lives of women historically, and contemporary craft and women’s work (re)appropriated by artists today. The relationship of craft, especially textiles, to environmental and social issues is an extension of my artistic investigations.
The work is process oriented; textiles and books are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, leaves, flowers, and red, green, and yellow clay. I forage for raw materials, cook dyes, grind pigments, an ecofeminist action that considers the environmental impact of objects. Materials are dyed three or more times, the process left visible as dyestuff is unfiltered in the vat and the finished work. The works are earthy, unadulterated, unkempt – the opposite of clean and cerebral. They are sewn into larger works, and incorporated with hair, pearls, bone beads, milagros or cast plaster. I am interested in the distinct genetics and environmental and cultural history of each material. They assert their voice as collaborators rather than medium; I become as much listener as maker.
The lace inserts a visceral femininity into the clean gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the ongoing violence against women and the earth. I conspire with the material world in an act of fury and devotion.
curatorial and consulting
I curate at MAPSpace and independently, and work with artists in critique both privately and in the Crit Lab, and offer professional development consulting in writing and preparing portfolios for grants and proposals, and the business of being an artist. My work with artists in every situation incorporates an ethical and socially conscious framework for building a sustainable practice.
Miranda is founder and director of MAPSpace and The Crit Lab. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; Visiting Lecturer at Purchase College SUNY, Kutztown University, WCC Peekskill Center for Digital Arts; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda was core faculty at New Hampshire Institute of Art's low-residency MFA program from 2016-20, and teaches curatorial studies in the grad program at Western Colorado University, and faculty at Lyme Academy College of Fine Arts of the University of New Haven from 2005-19. She led the first Lyme study abroad program at the university's campus in Prato, Italy in spring 2017. She served as director and curator of the Gallery at Concordia College-NY from 2008-12. Miranda develops education programs for K-12, museums, and institutions, including Franklin Furnace, the Solomon R. Guggenheim Museum, the American Museum of Natural History, and the Smithsonian Institution. She has exhibited at ODETTA Gallery, Wave Hill, Bronx, NY; the Cape Museum of Fine Art, Cape Cod MA; the Belvedere Museum, Vienna Austria; Metaphor Contemporary Art, Brooklyn, NY; and Kenise Barnes Fine Art, Larchmont, NY.