Textiles made from fibers, including cotton, wool, acrylic and polyester, were produced in Belgium in honor of the country’s centuries-old weaving tradition. Sherman takes on a different character on each tapestry, transforming through clothing, accessories, eye color and hair; through the settlement of different sexes and the manipulation of her facial features.
These traits like a chameleon, says Sherman, are an act of erasing oneself, not revealing hidden fantasies, which viewers often project onto her work. At the same time, what may also be lost is the joy that the 67-year-old gets from creating new characters, as she explains: “I love when I see how far I can go from what is known; it’s just fun, it’s always been – since I was a kid. “
When did you first get the idea to make tapestries?
“I originally studied the idea about 12 years ago. I did a few samples with one company in California – the quality was fine, but I didn’t like the way it looked. The picture was full, so you lost all the details; you couldn’t feel the person’s face at all. It was just a bunch of stitches. I remember thinking at the time that it would work really well as up close. “
How did the process develop?
“I could not put that thought aside. I had all these Instagram pictures that I liked, but I didn’t know what to do with them. They didn’t work like [large scale] photos because they were all taken with a phone or iPad. The transition to tapestry worked really well because it’s like an old-fashioned form of pixelation – everything connected nicely. “