Free Radical Fiber Arts

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United States
Morning View, KY
Free Radical Fiber Arts

Fiber-integrated oil paintings and dimensional fiber art rooted in animal provenance. Each fiber holds a memory.

Using fibers from animals I have raised & known, I create work where fiber becomes part of the structure, emerging from the painted surface. Working with fibers from animals I have raised and known, including Suri alpaca, Teeswater wool, and mohair, I create work where fiber becomes part of the structure, emerging from the painted surface.

06/21/2026

Some pieces arrive quietly.

Not all at once, and not fully formed.

They emerge gradually through layers of color, atmosphere, texture, and time—revealing themselves one small step at a time.

𝘼 𝙎𝙤𝙛𝙩 𝘼𝙧𝙧𝙞𝙫𝙖𝙡 began as little more than a field of luminous color. Over time, blossoms, movement, and dimensional fiber forms slowly surfaced from within the painting, creating a space that feels suspended somewhere between memory and presence.

I find myself increasingly drawn to work that doesn't demand immediate understanding, but instead invites a slower kind of attention.

The kind that rewards returning.

The kind that continues unfolding over time.

06/19/2026

Watching a piece emerge through its various stages always feels a little like watching a memory surface.

06/16/2026

There is something different about seeing a body of work gathered together in one space.

In the studio, each piece develops independently over weeks or months. But once they leave the studio and begin sharing a wall, new relationships begin to emerge.

Colors echo one another. Forms reappear. Themes become more visible.

Seeing these recent fiber-integrated oil paintings together for 𝗧𝗵𝗲 𝗕𝗮𝗿𝗻 𝗣𝗮𝗶𝗻𝘁𝗲𝗿𝘀 𝟮𝟬𝟮𝟲 𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻 reminded me that individual works often become part of a larger conversation.

Sometimes the connections only become clear once the pieces begin living alongside one another.

06/13/2026

One of the most interesting moments in creating artwork is the moment it leaves the studio.

After months of living with a piece—seeing it every day, adjusting details, noticing small changes—it suddenly begins interacting with new light, new spaces, and new viewers.

This week, 𝘼 𝙎𝙞𝙣𝙜𝙡𝙚 𝘽𝙚𝙘𝙤𝙢𝙞𝙣𝙜 entered the juried 𝗥𝗮𝗱𝗶𝗮𝗻𝗰𝗲 exhibition at 𝗔𝗗𝗖 𝗙𝗶𝗻𝗲 𝗔𝗿𝘁 in Cincinnati, Ohio.

Seeing the work installed reminded me that artwork is never finished solely in the making. It continues evolving through the experience of being seen.

The conversations, questions, and quiet moments of connection that happen around a piece become part of its story too.

06/10/2026

𝙏𝙝𝙚 𝙍𝙚𝙙𝙗𝙪𝙙 𝙃𝙤𝙡𝙙𝙨 𝙃𝙚𝙧

Over the past several weeks, I’ve been sharing fragments and emerging details from this piece as it slowly unfolded in the studio.

At its center is Bonnie, my Basset hound—not rendered as a traditional portrait, but appearing instead as an emotional presence emerging through atmosphere, memory, layered color, gesture, branches, and fiber.

I’ve become increasingly interested in creating work that feels discovered gradually rather than immediately understood… pieces that continue revealing themselves over time through repeated looking and lived experience.

For me, this work became less about direct depiction and more about the way memory itself often functions: partially visible, emotionally vivid, shifting softly between presence and atmosphere.

The longer I work in this direction, the more I find myself drawn toward artwork that invites quiet return rather than quick consumption.

06/08/2026

I’ve long been interested in the places where artwork refuses to remain contained.

Where texture begins moving beyond the painted surface.

Where dimensional forms emerge into space.

Where the boundary between image, object, fiber, and atmosphere begins dissolving.

This detail is from a newer mixed media fiber work titled 𝘼 𝙎𝙞𝙣𝙜𝙡𝙚 𝘽𝙚𝙘𝙤𝙢𝙞𝙣𝙜.

I’ve found myself drawn more and more toward creating pieces that feel alive through movement, material presence, and gradual discovery rather than remaining fully fixed or static.

The longer I work this way, the more I realize I’m interested not only in what a piece depicts—but in how it physically exists in space, light, and atmosphere.

06/06/2026

While working on 𝙏𝙝𝙚 𝙍𝙚𝙙𝙗𝙪𝙙 𝙃𝙤𝙡𝙙𝙨 𝙃𝙚𝙧, I've been thinking a lot about the difference between seeing something clearly… and sensing it through memory.

Some memories remain sharp and immediate.

Others seem to drift in and out of focus over time—less like a clear image, and more like a presence that continues quietly living beneath the surface.

That feeling has been finding its way into my newer work more and more lately.

In 𝙏𝙝𝙚 𝙍𝙚𝙙𝙗𝙪𝙙 𝙃𝙤𝙡𝙙𝙨 𝙃𝙚𝙧, I’ve been exploring the idea of emotional presence emerging gradually through atmosphere, layered color, gesture, and fiber rather than direct depiction alone.

I’m becoming increasingly interested in the tension between what is fully visible and what is only partially remembered.

The longer I work on these pieces, the more I realize I want them to feel discovered slowly… the way memory itself often unfolds.

06/04/2026

One of the things I’ve been exploring in these newer fiber-integrated oil paintings is the point where painting begins shifting into object.

In 𝘾𝙖𝙧𝙧𝙞𝙚𝙙 𝙞𝙣 𝘾𝙤𝙡𝙤𝙧, some forms remain fully painted, while others begin physically emerging from the surface through fiber, stitching, texture, and dimensional movement.

I’m increasingly interested in that transition point—where atmosphere becomes tactile, and where the boundary between image and material presence starts dissolving.

The fibers are not meant to function as embellishment layered onto the work afterward. Instead, they are becoming part of the structure and emotional language of the piece itself.

The longer I explore this direction, the more I find myself drawn toward artwork that exists somewhere between memory, painting, and physical presence.

06/01/2026

I’ve been thinking a great deal lately about the difference between seeing something clearly… and sensing it through memory.

This detail is from an emerging fiber-integrated oil painting titled 𝙏𝙝𝙚 𝙍𝙚𝙙𝙗𝙪𝙙 𝙃𝙤𝙡𝙙𝙨 𝙃𝙚𝙧.

What interests me most in these newer works is not simply depicting a subject, but allowing forms, atmosphere, and emotional presence to emerge gradually through layers of color, gesture, fiber, and partially remembered shape.

Some areas remain soft and unresolved. Others quietly begin surfacing over time.

I’m becoming increasingly interested in artwork that invites lingering—that asks the viewer to return, look again, and discover something they didn’t notice the first time.

05/28/2026

One of the things I’ve been exploring in 𝘾𝙖𝙧𝙧𝙞𝙚𝙙 𝙞𝙣 𝘾𝙤𝙡𝙤𝙧 is the idea of echoes repeating throughout a piece in different forms.

Some flowers remain dimensional and fully present through fiber and texture, while others dissolve back into the painted surface—appearing almost like memories, impressions, or fragments resurfacing over time.

I’ve become increasingly interested in this space between what is clearly seen and what is only partially remembered.

The longer I work on these pieces, the more I find myself layering repeated shapes, colors, and gestures throughout the surface so that different areas begin quietly speaking to one another.

Sometimes the details reveal themselves immediately.

Sometimes they only begin emerging after you’ve spent time with the work.

Address

2511 Essex Place
Morning View, KY
45206

Telephone

+18594622344

Website

http://jennifermyka.com/

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