Artist Statement

I am drawn to weaving for how it holds history, labor, and personal narratives within its

threads. Through traditional and experimental techniques, I explore how materials behave under

pressure—how they stretch, unravel, or transform beyond fixed forms. I gravitate toward

plant-based materials and neutral earthy colors that feel close to their environments, returning me to their raw, unaltered states and the histories they carry. I often reflect on how fibers have been used to create, protect, and preserve, allowing ancestral ties to emerge intuitively in conversation with a conscious awareness of my upbringing and its aesthetic values. 

I am fascinated by the relationship between material and time—how weaving emphasizes slowness, patience, and impermanence. The physicality of making—the repetitive motions, interlocking threads, and softness in my hands—reinforces themes of care and reverence in my work. Ultimately, my practice is a way of asking questions through making, testing boundaries, and examining the intersections of my identity. As I weave, I imagine connecting with those before me who worked with intention to preserve their heritage and craft, and I aim to continue that dialogue through my own work.

Bio

Abigail Cruz is a fiber artist based in Kansas City, Missouri. In 2021 she graduated from Van Horn High School and is currently pursuing a BFA at the Kansas City Art Institute, where her work is exhibited at the end of every semester in a department exhibition. Abigail’s practice with textiles delves into the delicate balance between structure and fragility, allowing her to reflect on the relationships she holds in her family and her place within a long heritage. Grounded in traditional weaving techniques, her practice examines how textiles stretch, unravel, and transform under tension. She is drawn to neutral, earthy tones and ephemeral forms, inspired by themes of care, impermanence, and the intimate relationship between material and time. In her work, transparency and transitory forms become vehicles for a deeper engagement with craft—both as an act of inquiry and as a form of quiet reflection.