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It was incredible to be part of FABRIC Arts Festival, with Sunday Social taking place in my family’s auto body shop, Luzo Auto Center.

For Sunday Social, I created Beautiful Walking (Os Tapetes de Flores), my interpretation of Portuguese tapetes de flores: temporary carpets of flowers and dyed sawdust laid for religious processions. As a child, I walked over tapetes at Our Lady of Mount Carmel Church with my family, flabbergasted and seduced by the act of walking over something so carefully crafted.

I wanted people to dance over Beautiful Walking, and fittingly, a conga line formed. The dance kept building, with revelers kicking the sawdust until it was just a beautiful pile of colors.

This was by no means the first party at Luzo. Since 1967, the shop has also been a gathering place for Azorean-Americans. At annual holiday parties, car lifts became dining tables, carne de espeto was grilled over a half oil tank, and the family wine made its debut. The avós and tias gathered as singers from Our Lady of Mount Carmel performed folk songs.

To bring back some of that history, I brought on sculptor Michael Medeiros. His Mustang and Salted Cod recreated a photograph taken at Luzo in the early 2000s: salted cod drying in front of a vintage red Mustang.

Claudia De Sousa-Baptista gave an incredible lecture, Resistance Music Across the Portuguese-Speaking Diaspora, with music, on a stage adorned with textiles by Beatrice and Elaine Alder. Grace Goodrich floored us with a churrasco grazing table, singing Quando Eu Era Pequenina before we ate. Meanwhile, family and friends pressed wine in the side garage, as they do every year.

The best art production experience I’ve had in a long time. Huge thanks to my family, especially my dad, for opening up Luzo; to Michael Benavides,  @jesse____james and @alexxmachado for believing in the vision; and to the artists whose ideas wove together into something rich, real, and communal. Special thanks to @linsey_wallace and the production team!

And thank you to Shanna and Filomena from St. Michael’s in Fall River for helping dye and lay the sawdust, and Denny of @grant3d_works for cutting the molds!
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BEING ALIVE 2026 

@thestairwellspace at  @amfabarts , a former lace factory now artist studio community in Bridgeport, CT. Led by the fabulous @lindacolletta 

THANK YOU ARTISTS
Ruby Beenhouwer (New York, NY) @ruby_beenhouwer
Kenz Cannon (New York, NY) @mom__genes
Braxton Congrove (New York, NY) @braxtoncongrove
An Hà (Boston, MA) @an.ha.n
Lydia Kern (New York, NY)
@lydeia
Kati Kirsch (New York, NY)
@kaitkirsch
Ivy Lockhart (New York, NY)
@clairedenisivylockhart
Haejin Park (New Haven, CT)
@haejinduck
Estefania Puerta (VT) @este_puerta
Lucía Reissig (New York, NY)
@luciareissig
Carolyne Loreé Teston (New York, NY) @__carolyne_ 
Karla Zurita (New York, NY)
@2000pandas 

LOVE FOREVER 🦋
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Thanks to everyone who showed up last night for the Resident Artist Corrine Yonce’s  Open Studio. Corrine is here until Friday, and then heads back to Winooski, VT. To stay in touch, follow @corrine_yonce 😀

Good to see past and future Two Coats Residents in the house, too 🍻!

The Residency is taking a break in August — our next Open Studio will be in September. Stay tuned for details 💥
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Iron and Indigo @utopiaupstate is open ONE MORE WEEK! 

I knew when I first saw @julia.clift ‘s beautiful natural ink hybrid “landscape” drawings two years ago that I wanted to do a show with her. We curated Iron and Indigo to bring together nine artists using innovative approaches to earth-based materials in their work. We’re thrilled to announce that the show will be traveling to West Chester University in PA this fall! Scroll to see some images from each of the exhibiting artists.

Visit Fri-Sat 12-5, or by appointment Sun-Th, through July 11. Feel free to reach out if you want to come by midweek!

IMAGE INFO:

Julia Clift, Hybrid No. 8 (Amalgam), natural and synthetic inks and oil on paper, 17.5 x 13.75 in.

Nichole van Beek, Meadowcroft, earth pigment and indigo with soy binder on cotton canvas, 20 x 16 in.

Courtney Dudley, Hibiscus Venus, hibiscus dyed silk (hibiscus moscheutos), thread, batting, wire, 26 x 24 x 10 in.

Lydia Kern, Seed Saver, resin poured on the winter solstice, MRI images of artist’s brain, artist’s tape, queen anne’s lace and blackberry seeds from the Black Forest, descendant of wheat from the agricultural revolution, monarch wing from El Rosario sanctuary, mandorla almond, Julian’s hazelnuts, thistles from Tyhe & Kayhl, split leaf philodendron from Sarah’s 2018 cutting, snake skins, cosmic crisp apple, vintage purse, rosary beads, chains, negative photos printed on transparency, torched wood, ink, 60 x 27 x 1 in.

Esteban Cabeza de Baca, Cochineal Pollinator, cochineal and indigo dyed canvas with bronze artist frame, 28 x 16 ½ x 3 in.

Laini Nemett, Poestenkill Mill Corridor, homemade brick, iron, indigo, walnut, and buckthorn inks, synthetic inks, and oil on linen, 48 x 40 in.

Ellie Irons, Feral Hues: A Guide to Painting with Weeds, Publication Studio Hudson, 6 x 8.5 x 0.5 in.

Kate Stewart, Galicia, found fabrics, natural-dyed textiles, silk, organdy, 42 x 36 in.

Allie E.S. Wist, Experiments in Strata V, cement, foraged waste asphalt, 15 x 7 x 7 in; Experiments in Strata IV, cement, plantation agricultural products (wheat), foraged waste asphalt, and aluminum, 11 x 11 x 11 in; Asphalt Trace, archival print, chipboard, 48 x 29 in.
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