The Art of Sublime Resistence

“Blooming” by Kirsty Little

Although her works are made of common, seemingly benign, everyday home-making materials, Kirsty Little creates assemblages that “blossom” into emblems of empowerment. On the surface, Kirsty’s blooming manifestations of wire, wax, pins, wood and acrylic create the appearance of calm, acquiesce, and uninterrupted beauty, but, on closer inspection, the works become embodiments of tension that turn art into activism. This critical re-working of “en-gendered” materials is the vehicle through which the artist confronts societal conflicts that continue to threaten the rights of women today.

In her “dysfunctional” series, “Sugar” is a work that shows a sugar sifter suspended from a coat hook mounted on a pink acrylic base. The sifter, typically seen at afternoon tea parties hosted by women, is re-presented as a blossom of entangled rose wires, corsage pins, and paint—materials that are also commonly used by women, but reimagined in a way that reclaims female agency. According to Little, the dysfunctional series refers to the oppositional forces that continue to limit the freedom of women who still do not have control over their own bodies.

Little’s choice of materials appears arduous and difficult to work with. This is intentional. “Turbulence” is a large work made of steel wire, wax, and paint that is suspended from the ceiling to create the appearance of a woven textile fabric. Turning art into activism, Little substitutes fabric for steel wire, creating warp and weft patterns that are intricate in some sections, but which begin to unravel and fall into disarray. By replacing thread with wire, Little conveys the idea that women must work harder to combat the threats to women’s rights in America today.

“Pelt” is another beautifully constructed piece made of galvanized steel and copper wire with an embroidery hoop mounted on wood. The sublimity of this work is evident in the beautiful way in which the wire simulates a woman’s hair, though tainted by specks of red paint to evoke feelings of tragedy or death. Little dedicates this work to Mahsa Amini, a Kurdish, Iranian woman who was arrested and beaten by the Guidance Patrol of Iran in 2022 for not wearing her hijab. Amini died in a hospital shortly aftwards. The work demonstrates Little’s solidarity with women across the world, including other artists who have addressed this subject such as Mona Borzogi, Kiana Honarmand, and Lorna Simpson who represent hair as a source empowerment and reclamation.

“Consent, Do you have it?” does not contain the same arduous and meticulous use of wires, but challenges the viewer in a different way. In place of Little’s wired entanglements, Consent, made of neon, wood, and velvet, displays a red curtain suspended from the wall at waist level. The tension is evident in the space between the artwork and the viewer, who is confronted with the questions: Does opening the curtain require consent? Is it a violation to touch what is only intended to be seen? Behind the curtain in neon lights is the word “private,” a dyadic sign that points to the sanctity and integrity of a women’s body, and, alternatively, to transgressions that can potentially lead to sexual violence.

“Blooming” was on view at the Hudson Gallery, Hood College in Frederick, MD from March 17 -April 4, 2025. To learn more about Kirsty Little visit her website.

​Author: Tim Brown

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