Etta Sandry is an artist and educator whose practice is grounded in fiber and weaving but spans media. She received her BFA from the School of the Art Institute of Chicago in 2013 with a focus in Fiber and Material Studies and is currently pursuing her MFA in the Fibre and Material Practices department at Concordia University in Tiohtià:ke/Montreal. Her work has been shown in group exhibitions in the United States and Canada and included in duo exhibitions at ACRE Projects and Roots & Culture in Chicago. Etta’s work as an educator has included teaching artist positions at Concordia University in Montreal, the Textile Arts Center in New York, and the Museum of Contemporary Art and Marwen in Chicago. She has worked as an arts administrator at Pratt Institute and the Textile Arts Center in Brooklyn, New York.

My work is driven by the understanding that materials, patterns, and forms carry meaning. Meaning inherent in their construction – as in how the gridded interlacement of threads in a woven cloth is a fundamentally different structure than the cycling knit thread that loops upon itself – and meaning prescribed through their entanglements with history, politics, and use. I work with materials as examples of the broader systems that organize the world, using multi-layer weaving and rope making as well as drawing, clay, installation, and sound as tools to question power structures and explore possibility.

Through processes of translation, I use the logic and histories embedded in the materials to trouble their forms: creating a clay rope, woven space, tonal time, a written wave. This transformation is a way to problematize and play; to invite mutability into seemingly fixed systems. I can follow the rules, break them, and create new ones to be broken again. I am looking at the thing in between two ideas as a third or multiplicitous possibility and asking, can weaving be anything but binary? Is "no" the opposite of "yes"? What is the space in between?

In my work, I aim to destabilize assumptions about how cloth, ropes, and clay bodies are produced and how they function. I am considering how these forms and making processes can be models or methods for destabilizing, imagining, and rebuilding broader social and political structures.