Q&A [Question and Artist]: Lindsay Preston Zappas

Threads That Bind is a collaborative exhibition brought to life by the Brea Gallery and Muzeo Museum and Cultural Center, highlighting contemporary women artists using textiles and fiber works to give voice to the issues that bind us. Now on view from October 14th to December 8th! We had the pleasure of interviewing Lindsay Preston Zappas, one of the artists in Threads That Bind, to learn more about her visionary practice and upcoming projects.

Meet Lindsay Preston Zappas

[Brea Gallery]: How did you develop your medium? What inspired you to use different elements in your work?

[Lindsay]: I've been working between sculpture and photography for about ten years now, and I find there are some really interesting things that photography can introduce to dimensional making.

There has always been a push and pull between dimensionality/ tactility and flatness in my work. The body/ the figure is a constant interloper in my work between the various mediums and methods I use. When I started weaving, about 7 years ago, I was really intrigued by the loom's ability to collect and flatten information and also the ability of fiber work to conform around and relate to the body.

Over the last year or two, I've been weaving photographic prints (printed on fabric) directly into my weavings on the loom by slicing them into thin strips before weaving them back together.

[Lindsay cont’d]: My process is pretty non-linear and involves a lot of steps that are not always apparent in the final work—usually, there is a period of making which can include drawing; prop-making with wood, fiber, or paper; and gathering various materials for a photoshoot.

Typically the photoshoots I do involve my own body interacting with various props and objects in the studio. These photos are then edited and manipulated in Photoshop, and I create a suite of photos that I then get printed on fabric.

So, all of that happens before the weaving even enters the picture. As I begin a weaving, I usually have a loose idea about which photos I want to include, and where they will get integrated into the piece, but all of the other decisions about the woven sections, patterns, and tapestry happen very organically and intuitively as I am weaving.

[Brea Gallery]: What topics inspire your art?

[Lindsay]: I look to all kinds of things for inspiration. Usually, as I begin a piece, I develop a motif around a series of objects, colors, and props.

These are often inspired by somewhat mundane or everyday things—one piece in the Brea Gallery show includes palm leaves that I found in a neighbor's green bin while on a walk. The leaves became the key prop in the photo shoot and inspired the scheme for the work.

I'm also inspired by the objects we interact with on a daily basis and how the objects that fill our lives are an influence on how our identities are shaped (and how they are projected into the world). I often think about art historical motifs as well—some of the traditional still life objects like fruit and flowers that were meant to convey a sense of mortality. Color, pattern, and fashion are also big inspirations for me.

[Brea Gallery]: What challenges do you face as a woman artist? What advice would you give to other women artists just starting?

[Lindsay]: I'm not sure if this is a specifically gendered thing, but in my professional career, I wear a lot of different hats.

I founded a critical LA-based art magazine, Carla, over 8 years ago, and continue to run that as the editor-in-chief and Executive Director. I also am an arts correspondent for KCRW, occasionally write for other publications, and have had stints of teaching at various colleges in L.A.

I think as women, we often have a propensity towards over-achieving or saying yes to everything. Over the last couple of years, I've been really trying to create boundaries around what I commit to, which can be pretty challenging. I am also pregnant with my first child at the moment, and it has definitely been historically difficult for artists who are mothers to sustain a career in the art world. Yet, I see these inequities changing for many of my peers and I'm hopeful that our art community is moving in a more supportive direction towards women and mothers.

[Brea Gallery]: Who are your top 3 Artists right now?

[Lindsay]: This is always such a hard question for me, so I'll just answer with artists whose work I have responded to recently.

I just saw a Terri Friedman show at Shoshana Wayne, and am always so blown away by her weavings. Last year I was fortunate to moderate a panel with the recently passed artist Phyllida Barlow, and I've been thinking a lot about her objects and how she utilizes space and plays with material. Elliott Hundley's show earlier this year at Regen Projects was so inspiring—it made me want to get into the studio, which is always the best feeling when you look at art. His work oscillates between photography, sculpture, collage, and drawing, and for that show, he exploded his studio into the gallery with a really dynamic installation that merged finished art objects with more in-process photos and collage materials.

Ooo one more: Troy Montes-Michie had a really inspiring show at the California African American Museum recently—I love how he collages photographs, mixed media, and clothing together in his work.

[Brea Gallery]: What is the best thing you’ve read recently or watching right now?

[Lindsay]: Since I am regularly writing on critical art topics for my magazine Carla, I find that I am most drawn to fiction in my free time.

I recently read Klara and the Sun, which was a really interesting book written from the perspective of a robot in a future dystopian time. The narrative unfolds from the robot's perspective, as a reader, you only ever know as much of the story as the robot is able to observe which is a really interesting premise for storytelling. Other recent books I enjoyed were Leave Society by Tao Lin, Mothers by Britt Bennet, and Her Body and Other Parties by Maria Machado. And, lots of baby books recently!

[Brea Gallery]: Where else can people see your work or what's coming up next?

[Lindsay]: I'm working on a new piece during my pregnancy that I'm excited about. It was inspired by all of the fruits that they compare the baby's size to as he's been growing—so I'm working with some still lives of fruit and vegetables that I will use as props for a photoshoot which will include my very pregnant belly. It's fun to be able to document this time through my artwork. 

Thank you Lindsay for sharing some wise words with us ahead of the new bundle of joy you’re expecting! You can still view these amazing works in person until December 8th, but don’t wait until the last minute!!

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We will be hosting a closing reception Friday, December 8th from 4pm-6pm to celebrate and say goodbye to the art in Threads That Bind. It is free and open to the public; and will have light refreshments and live music to close the party up!

We are open Wednesday - Sunday

12pm-5pm

General Admission $3

See these incredible works on display now through December 8th, 2023.

Brea Gallery will be closed for installation,

December 9 through January 26.