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Battlefield
Description

On an average day in the United States, two women die from childbirth-related causes. Another 139 suffer serious, near-fatal conditions after giving birth. While in other developed nations this rate is falling, in the U.S. our maternal mortality and morbidity rates are rising. (There are 141 paper dolls on this piece, one for every women who dies or nearly dies every day in the U.S.)

The causes of this trend are complicated. Lack of access to overall healthcare and specifically prenatal care contribute, especially for women living in poverty. Racism contributes: black mothers die at three to four times the rate of white mothers. The growing numbers of Caesarian births contributes to complications in childbirth. The lack of effective, standardized medical protocols in some facilities contributes.

Regardless of the cause, behind every one of these deaths or incidents of morbidity is a family. The tangible and intangible costs to each of those families is extreme.

These statistics didn’t really get through to me until I talked to my mother a few weeks ago, describing this piece. She said, “That’s what happened to me when Kris was born.” I remembered that she’d told me she’d been sick after my youngest sister was born in 1963, but the details were sketchy. What I learned was that to treat her postpartum hemorrhage, she was given blood transfusions and told to go home and rest. She ended up in the ER, where she finally – and thankfully – received proper treatment. Contemplating what a loss that would have been for all of us, I felt numb. When she told me her story, all those statistics became real: my two sisters and I could have grown up without our mother.

After World War I, red poppies – the seeds of which germinate in disturbed soil – bloomed all over the battlefields of Belgium, inspiring the poem In Flanders Fields. The red poppy became the symbol for Remembrance Day, celebrated in Europe and Canada.

I think red poppies also make a powerful symbol for remembering the mothers who died and the ones who nearly died, like my mother.

This piece was part of the exhibit, Ultraviolet: Textile art revealing women’s issues and has an ultraviolet message screened on the blue ‘sky’ section. It reads, “For the lost mothers and the ones who nearly died.”

33″ h x 34″ w stitched textile collage, unframed, but comes with framing instructions

In stock: 1
$3,500.00 USD $3,500.00 USD
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About my process

Unbridled and exuberant

My textile collages are created with hand-dyed, reclaimed, and recycled fabrics. They celebrate the divine in everything, including ordinary objects like irons and vacuum cleaners. I'm at my happiest when surrounded by scraps, irons, and sewing machines!

I'm inspired by ideas. I'm inspired by history, especially that of women who accomplished amazing feats against all odds. I'm inspired by my travels away from home, whether it's visiting NYC museums, hiking the hills of Ireland, backpacking in the sounthern Arizona desert, or hunkering down to write and make art in retreat in New Mexico or Oregon.

A Unique Work of Art

Each piece is one-of-a-kind, uniquely its own.

Aesthetic Storytelling

Each piece is created from a narrative or idea.

Hand-crafted

Darcy personally creates each artwork.
Fine Art Textiles

The Power of Collage

Concepts and ideas are what drive my creative work, whether I am making visual art or writing. I require a narrative or an idea upon which to hang the aesthetics. That’s one reason I was initially drawn to collage, with its startling power to illustrate the intangible. Collage allows me to give important elements their due, excise the insignificant, and re-create the world according to my own vision. I use fragments to create a whole, solid, and honest picture of the world.

While I still work with the stitched textile collage medium, a shift has caused me to look at other ways to express ideas. That modulation has led me to investigate sculptural forms, specifically those based on garments. Conceptualizing the Kevlar Kimono, with its many layers of meaning and controversial subject matter, was the first indication that I needed to defect – at least for a time ­– from collage. The ideas behind that piece were simply too big to be contained in a small framed artwork.

Whatever the topic and form of my work, I’m looking to ground those abstract ideas in the senses, giving the viewer enough clues within my work to expose him or her to an idea, or recall an experience or memory, much like a childhood matching game. Not everyone will take the time to look closely and understand, but those are the artworks I seek to create and to view.

— Darcy Falk

(Photo by John Running)

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