On Jan. 25, the Library Street Collective debuted its newest exhibition at The Shepherd Art Center in Detroit’s East Side nieghborhood. “Warp and Weft: Technologies within Textiles” was curated by Allison Glenn, the artistic director of The Shepherd. The exhibit is composed of dozens of textile works by local and internationally renowned artists. The exhibition is full of beautiful and intricate art conveying the theme of innovation and experimentation in textiles and fiber art.

The Library Street Collective was founded in 2012 by Anthony and JJ Curtis and is based in Detroit. Specializing in cutting edge modern and contemporary art, the organization has renovated the century-old Romanesque Good Shepherd Catholic Church, which closed in 2016. While retaining the stained glass windows and classic architecture, the balcony, hallways, altars, and cathedral have been converted into modern gallery spaces.

From the first showroom to the lecture hall, the building is full of beautiful pieces that contribute to the theme of technologies with textiles. Eric-Paul Riege’s “yoo’4yay” is an 84-inch earring suspended in the center of gallery one. “Yoo’4yay,” which is loosely translated as “necklace (or beads) for fun/god,” is made up of both wooden and plastic beads, pleather, sheep hide, faux fur, wool yarn, muslin, foam and synthetic fur. This piece was made as a contribution to Indigenous weaving, performances and jewelry making, and was inspired by advice that Riege’s grandmother gave to him about wearing jewelry. The theme of new technologies and tradition in art is perfectly illustrated by this piece. As it is made up of both synthetic and natural materials as well as being a representation of indigenous history and culture. Being the centerpiece of the first gallery, “yoo’4yay” effectively introduces the audience to the exhibit and its message.

Located in gallery two is Tiff Massey’s “White Out, you in (red), (black), and (green),” which is made of printed stainless steel. Three sets of framed, reflective stainless steel are printed with patterns resembling gingham. Each set is arranged in a three by four grid, and are distinguished only by color: one being red and the other two being black and green. While the piece is not in itself textile, it does pay homage to the history and evolution of fabric art in the African American community. Seeing your reflection among the gingham pattern of Massey’s piece gives the illusion of being woven into the fabric, the “white is out” and “you are in.” Through this illusion, Massey has effectively made the audience see themselves in the history and allowed them to be a part of it. “White out, you in” is a piece that most people might overlook in the exhibit, but it is one of the most important and most powerful examples of the theme.

The Shepherd retained the church’s main altar, which is the most grand part of the building, being adorned with ornate tapestries created by Alisha B. Wormsley and surrounded by patterned quits, created by Cyrah Dardas. “Sembrando palabras en mi segunda piel” by Angélica Serech is featured in the altar’s exhibit space. Translated to “Planting words on my second skin,” this 264-inch long woven tapestry is suspended just in front of the altar. It is made up of not only a long piece of tapestry but has ropes and knots that create lace and mesh style patterns hanging off the tapestry. “Sembrando palabras en mi segunda piel” was hand dyed in shades of brown, tan, pink, and red, and was made using a pedal loom, vertical loom, and wooden needle embroidery. Serech was inspired by her upbringing in Guatemala where she learned embroidery. She also takes inspiration from her environment, everyday life and community. Serech’s piece perfectly ties history with innovation, as an earthy color palette is combined with unconventional weaving patterns to create a work of art that both pays homage to her heritage and pushes the boundaries of what tapestry is.

Glenn said the idea for “Warp and Weft: Technologies within Textiles” came after she returned to Detroit after some time away. She explains to “The Detroit Free Press” that it’s “the first part of a two-part exhibition that really delves into the parts of Detroit that have not changed, as well as the ones that are in constant flux.” She adds, “It’s the innovation of a system that is the connection. So the anchor is not only the city, but also the ideas of innovation within a system, which Detroit is known for.”

The exhibition is a beautifully curated art show with truly outstanding pieces that brilliantly represents not only textiles, but the history and its ever evolving presence as an art form. “Warp and Weft: Technologies within Textiles” is open through May 3 at The Shepherd Arts Center in Detroit.