Deborah Kruger

• Redwing is a mural-size piece that is named for the many beautiful red birds around the world that are now endangered. Redwing is constructed in 3 sections in order to facilitate shipping. All the feathers are created by hand screen printing on recycled plastic, using images of endangered birds and text in endangered indigenous languages. 2023, 60 x 110 x 2", hand screen-printing on recycled plastic, sewing, wrapping, waxed linen thread
• Ropa Arco Iris is part of a series of artwork inspired by the Huipil, a traditional women's garment from Chiapas and Guatemala. The indigenous women from these regions are famous for their hand weaving perfected over thousands of years. There are vertical stripes in the piece that echo the woven construction of huipils. The colors of this piece reflect the colors of the rainbow, thus its name. This wall relief is hand screen-printed on recycled plastic, sewing, wrapping, waxed linen thread. I have used women's clothing as a source of inspiration for many years. Indigenous people are at risk due to habitat fragmentation along with birds and other species. 2023, 53 x 45 x 3", hand screen-printing on recycled plastic, sewing, wrapping, waxed linen thread
• Red Vessel is based on a traditional ceramic form from the Olmec culture which existed in modern-day Mexican states of Tabasco and Veracruz. The Olmec society lasted from about 1600 BCE to around 350 BCE, when environmental factors made their villages unlivable. The vessels were typically 18 inches high (40 cm), while my vessel towers over most people at 7 feet (210 cm). The long tail feathers used in this piece are made from recycled plastic, hand screen printed with images of endangered birds and overprinted with text in indigenous languages.
• Red Feather Basket 2 is the second in a series of small baskets that are decorated with my signature feathers made from recycled plastic. This is a small piece and all the feathers are cut from larger scraps leftover from other work. Recycling my own work is my effort at reducing my own studio footprint. 2022, 10 x 10 x 10", hand screen-printing on recycled plastic, sewing, wrapping, waxed linen thread
• Kimono 2 evokes shape and sensibility of a kimono. The colors are primarily white with a dramatic blue central column of color. The piece is made in 3 sections that are sewn onto a wrapped bamboo stick with waxed linen thread. The feathers are made from recycled plastic, hand screen-printed with images of endangered birds and overprinted with text in endangered languages such as Yiddish, Shorthand, numerous indigenous languages and excerpts of Rachel Carson's Silent Spring.
• Re-Dress is based on a traditional ceramic form from the nomadic Aztec culture which arrived in Mesoamerica around the beginning of the 13th century through the 15th century. The vessels were typically 18 (40 cm) inches high, while my vessel towers over most people at 6 feet (150 cm). The curved and long tail feathers used in this piece are made from recycled plastic, hand screen-printed with images of endangered birds and overprinted with text in Mexican indigenous languages like Yakme, Zoque and Cho'lol.
• Ropa Blanca is part of the ongoing White Series and takes the form of a Huipil, the traditional women's garment from Chiapas and Guatemala. There are vertical red stripes in the piece that echo the woven construction of huipils. The indigenous reference is purposely vague. It may refer to garments from tribal people's of the South or Huipils from Guatemala. In all cases, indigenous people are at risk due to habitat fragmentation along with birds and other species. The long tail feathers used in thie piece are made from recycled plastic, hand screen printed with images of endangered birds and overprinted with text in Mexican indigenous languages like Yakme, Zoque and Cho'lol.
• The feathers in Corona de Plumas are cut into curved forms that echo the shape of feathers. This piece is built in layers and resembles traditional indigenous headdresses worn in ritual ceremonies. Wrapped sticks have appeared in my work for many years and in this piece they define the center of the piece. I also incorporate the long tail feathers in the lower half of the piece and also use unfrayed rope. The feathers made from recycled plastic, hand screen-printed with images of endangered birds and overprinted with text in endangered languages such as Yiddish, Shorthand, numerous indigenous languages and excerpts of Rachel Carson's Silent Spring in Spanish. Part of the new smaller works collection
• Conflagration is shaped on the map of the Mexican state of San Luis Potosi where many bird species are threatened due to rainforest destruction. The diagonal piece is organized along horizontal topographic lines and center section is gold, embellished with waxed linen thread and wire thread and meant to evoke the fires in the Amazon rainforest and bush in Australia that were raging during the time I was creating this piece. I make the feathers from recycled plastic, hand screen printed with images of endangered birds and overprinted with text in endangered languages such as Yiddish, Shorthand, numerous indigenous languages and excerpts of Rachel Carson's Silent Spring.
• Two of my environmental pieces, Accidentals (a mural size piece) and Ropa Pintada (based on the form of the Huipil) were just acquired by the Museum of Arts and Design in New York City