Artist Statement

Chicanx, Punjabi, Hawaiian: weaving is about strange combinations. Teal penetrates magenta. Gold interrupts. Handspun wool twists with glitter, only to get trapped in cotton. As my mother likes to say when she sees a surprising multiracial body: “who invaded that guy?” Materials erase, seduce, replace, choke as they wind their way through a warp, under weft, are put under tension or are set free of it. 3/8 Indian. 1/8 black and white. Authenticity diluted by eighths!

 

What are you? I am a weaver of ends, of each generational end. I am a promiscuity of culture in rayon and knit caught in the warp of a backstrap loom, picking out the pattern in a Mapuche poncho. But are these my stories to tell?


I am Hollywood Hawaiian. My work is a tribute to my grandmother Lawhaii (Kikume) Johal. That’s Hawaii with an L. She grew up believing her family was native Hawaiian.Her uncle was 

Chief Mehevi, Chief Rakos, the authenticating bodily presence of the savage and of the exotic in the jungle movies of the 1920s-50s.

 

What are you? Check the box. Are you human? Type the code. The “Completely Automated Public Turing test to tell Computers and Humans Apart” (CAPTCHA) is the puzzle that compels me to choose as I navigate the web. Prove you’re not a robot. But there are too many seams, too many constructed cultural affiliations sutured together.

 

This is the performance of the unassimilated without homeland: please check one box only. Mark yourself as Other.

Bio

 

Kira Dominguez Hultgren (b. 1980) is a U.S.-based textile artist and educator. She studied French postcolonial theory and literature at Princeton University, and performance and fine arts in Río Negro, Argentina. With a dual-degree MFA/MA in Fine Arts and Visual and Critical Studies from California College of the Arts, her research interests include material and embodied rhetorics, decolonizing material culture, and analyzing textiles as a performative critique against the visual. Dominguez Hultgren’s work has been exhibited at the de Young Fine Art Museum of San Francisco, headlined Untitled, ART SF in 2020, and was featured in the July/August 2020 issue of Architectural Digest. She has had two solo shows with Eleanor Harwood Gallery in San Francisco, where she is represented, and her first solo museum show at the San Jose Museum of Quilt and Textile. Her fellowships and residencies include the Headlands Center for the Arts, Facebook, and Gensler Architecture. Dominguez Hultgren is part-time faculty at the School of the Art Institute of Chicago in Fiber and Material Studies.

 

Affiliations

 

CV

Kira Dominguez Hultgren

b. 1980, Oakland, California

Represented by Eleanor Harwood Gallery, San Francisco, CA

San Francisco Arts Commission Prequalified Artist Pool

Education

2019      MFA Fine Arts and MA Visual and Critical Studies, California College of the Arts, San Francisco, CA

2012      Mapuche Textile Arts Apprenticeship, Ruca Mallín, Río Negro Province, Argentina

2003      BA, Comparative Literature, Princeton University, Princeton, NJ

Selected Solo and Group Exhibitions

2021      (anticipated) A Beautiful Mess: Weavers and Knotters of the Vanguard, Bedford Gallery, Walnut Creek, CA

2020      Believe Only the Caravan’s Trace, curated by Yomna Osman, Headlands Center for the Arts, Sausalito, CA

2020      The de Young Open, de Young Museum, San Francisco, CA

2020      Invincible Summer, Minnesota Street Project, San Francisco, CA

2020      I was India: Embroidering Exoticism (Solo Exhibition), San Jose Museum of Quilt and Textile, San Jose, CA

2020      Cosmic Fluff (Solo Exhibition/Facebook Booth Installation), UNTITLED, ART, San Francisco, CA

2020      Intrusions (Solo Exhibition), Eleanor Harwood Gallery, San Francisco, CA

2019      Fiberful, curated by Cynthia Ona Innis, NIAD Art Center, Richmond, CA

2019      Stitching and Weaving in the Digital Age, curated by Christine Duval, Currents 826, Santa Fe, NM

2019      My Mother’s Maiden Name, curated by Tanya Gayer, Root Division, San Francisco, CA

2019      Trap, Trauma, Transformation, curated by Rohan DaCosta, Greenlining Institute, Oakland, CA

2019      O! ‘darkly, deeply, beautifully blue…’, Eleanor Harwood Gallery, San Francisco, CA

2019      Bridge (Solo Exhibition), Gensler, San Francisco, CA

2018      Stitching and Weaving in the Digital Age, Résidence de France, San Francisco, CA

2018      All College Honors Award Exhibition, Hubbell Street Galleries, San Francisco, CA

2018      Wingspan (Solo Exhibition), Eleanor Harwood Gallery, San Francisco, CA

2018      MFA Exhibition I, Minnesota Street Project, San Francisco, CA

2018      This Message Has No Content, Embark Gallery, San Francisco, CA

2018      Caught in the Fray, College Avenue Galleries, Oakland, CA

2017      The Annual Murphy and Cadogan Awards Exhibition, SOMArts, San Francisco, CA

2017      TEXT TALES: Narrativity in Cloth & Thread, College Avenue Galleries, Oakland, CA

2016      The Immediate Archive, College Avenue Galleries, Oakland, CA

2015      Roots of the Maypole (Solo Exhibition), Codornices Park, Berkeley, CA, USA            

2013      Iconography of Loss, 24-hour outdoor installation (Solo Exhibition), Victoria, MN, USA

2012      Duendes y Hadas de Fieltro, Antu Werken, Paraje Entre Ríos, RN, Argentina

2011      La Teoria del Color, Escuela Micael, Paraje Entre Ríos, RN, Argentina

2011      Lado Derecho, Centro Cultural, El Bolsón, RN, Argentina

Residencies/Fellowships

2020               Facebook AIR, San Francisco, CA

2019-2020      Graduate Fellowship, Headlands Center for the Arts, Sausalito, CA

2019               Lia Cook Jacquard Weaving Residency, California College of the Arts, Oakland, CA

2019               Gensler AIR, San Francisco, CA

Honors and Awards

2020      Hopper Prize, Spring 2020, The Hopper Prize, Dover, DE

2020      Brandford/Elliott Award Nomination for Excellence in Fiber Arts, Textile Society of America, Baltimore, MD

2019      MFA Professional Development Fellowship Honorable Mention, College Art Association, New York, NY

2019      SECA Award Nomination, San Francisco Museum of Modern Art, San Francisco, CA

2018      All College Honors Scholarship in Graduate Fine Arts Award, California College of the Arts, San Francisco, CA

2018      Commencement Exhibition Curator Award, California College of the Arts, San Francisco, CA

2018      Dennis Leon and Christin Nelson Scholarship, California College of the Arts, San Francisco, CA

2017      Edwin Anthony and Adalaine Boudreaux Cadogan Scholarship, San Francisco, CA

2017      Toni A. Lowenthal Memorial Scholarship for Excellence in Textiles, California College of the Arts, San Francisco, CA

2016      Lenore Tawney Fiber and Material Studies Scholarship (declined), School of the Art Institute of Chicago, Chicago, IL

Collections

2020    Fidelity Corporate Art Collection, Boston, MA

2020    Facebook Headquarters, Menlo Park, CA

2019    Google Nest Corporate Collection, Palo Alto, CA

2018    UCSF Precision Cancer Medicine Building, San Francisco, CA

Media Coverage

2020      Shah, Shilpa. “I was India: Embroidering Exoticism,” (review). Textile Society of America News, September 29, 2020.

              https://textilesocietyofamerica.org/10308/i-was-india-embroidering-exoticism

2020      Rus, Mayer. “Step Inside a Family’s Sophisticated Santa Cruz Getaway,” (review). Architectural Digest, July/August

              2020. https://www.architecturaldigest.com/story/step-inside-a-familys-sophisticated-santa-cruz-getaway

2020      Bravo, Tony. “Minnesota Street Project Opens First Group Gallery Show in Atrium, Launches Virtual Portal,” (review). 

              San Francisco Chronicle. July 8, 2020. https://datebook.sfchronicle.com/art-exhibits/minnesota-street-project-opens- 

              first-group-gallery-show-in-atrium-launches-virtual-portal

2020      Huguenor, Mike. “I was India at San Jose Museum of Quilt and Textile,” March 4, 2020.

              http://activate.metroactive.com/2020/03/i-was-india-at-san-jose-musuem-of-quilts-textiles/

2020      Donoghue, Katy. “Tina Vaz on Facebook’s Artist-in-Residence Program,” (shout-out). Whitewall. January 15, 2020.

              https://www.whitewall.art/art/tina-vaz-facebooks-artist-residence-program

2020      Hotchkiss, Sarah. “Six Bay Area Art Shows to See in 2020,” (review). KQED. January 2020.           

              https://www.kqed.org/arts/13872314/five-bay-area-art-shows-to-see-in-2020

2020      UNTITLED, ART, Conversations, “Strange Combinations: Analog meets Virtual,” moderated by James Voorhies, January

              2020. Podcast.

2019      CAA News Today, “Meet the 2018 Professional Development Fellows,” January 2019. http://www.collegeart.org

              /news/2019/01/28/meet-the-2018-professional-development-fellows/

2018      Lutz, Leora. “Coded, Recent Weavings by Kira Dominguez Hultgren.” Essay published in conjunction with Wingspan

              Exhibition, Eleanor Harwood Gallery, June 2018. http://eleanorharwood.com/press/leora-lutz-essay-coded-recent-

              weavings-by-kira-dominguez-hultgren/

2018      Cheng, Dewitt. “Kira Dominguez Hultgren,” (review). Visual Art Source. June 2018. http://www.visualartsource.com

              /index.php?page=editorial&aID=4728

2017      Kost, Ryan. “Identity and History on Display at SOMArts Show,” (review). SF Gate. September 20, 2017.

              https://www.sfgate.com/art/article/Identity-and-history-on-display-at-SOMArts-show-12215258.php

2017      Venkat, Uji. “2017 Murphy Cadogan Contemporary Art Awards Exhibition,” (review). Emergent Art Space. November

              10, 2017. https://emergentartspace.org/forum/49991/

Teaching

2021      School of the Art Institute of Chicago, Introduction to Fiber and Material Studies, Adjunct Professor, Chicago, IL

2019      California College of the Arts, Jacquard Weaving: Zeros and Ones, TA, Oakland, CA

2018      California College of the Arts, Jacquard Weaving: Zeros and Ones, TA, Oakland, CA

2017      California College of the Arts, Contemporary Art History and Theory, TA, (Graduate Survey), San Francisco, CA

 

 

Visiting Artist Lectures 

2020      San Jose Museum of Quilt and Textile, “Flower-Shaped Storytelling,” San Jose, CA

2020      Living Room Light Exchange, “Cosmic Fluff: Materializing Countable Identity,” San Francisco, CA  

2020      Sonoma State University, “I was India: Materializing Imagined Identities in Contemporary Fiber Art,” Visiting Artist

              Lecture Series, Sonoma, CA

2019      California College of the Arts, “Textiles as Appropriative Practice,” Fine Art Lecture Series, Oakland, CA

2019      California College of the Arts, “Beyond Women’s Work: Embodied and Material Rhetoric,” Craft Theory I, San

              Francisco, CA

Conference Papers and Panels

2021      (accepted) “Slipping Through the Cracks: Rereading Tapestry Weaving as Subversive Material Rhetoric in Late-Nineteenth-

              Century Navajo-Woven U.S. Flags.” Paper presented at CAA Annual Conference.

2019      “Here, and No Further: Material Rhetoric in Loom with Textile.” Paper presented at Timepieces, the Centre for

              Comparative Literatures 29th Annual Conference, University of Toronto, Toronto, ON, Canada

2019      My Mother’s Maiden Name, curated by Tanya Gayer. Panel speaker, Root Division, San Francisco, CA

2019      Making (it) Work curated by Karla Wozniak and Georgia Elrod. Panel speaker, Oliver Art Center, Oakland, CA

2017      “Hawaii with an L: How Black and White Became Hawaiian in John Ford’s The Hurricane.” Paper presented at the

              Identities, Difference, and Power Symposium, California College of the Arts, San Francisco, CA

2017      Artists/Students of Color Experience in Higher Arts Education. Panel speaker, Murphy & Cadogan Equity in Arts

              Education Summit, SOMArts, San Francisco, CA

© Kira Dominguez Hultgren 2020