In Provence, my work was deeply rooted in place, drawing from the region’s colors, materials, and atmosphere. Using natural dyes, pigments, and locally sourced yarns, I created large-scale sculptural woven and wrapped forms. Each piece was a reflection of my time in Lacoste—sketched, sourced, and shaped by my surroundings. While my techniques remained consistent, the essence of this body of work was distinctly Provence, infused with the rhythm of life there. La Vie en Rose echoed through my days, evolving into a quiet mantra that threaded itself into the work.

I presented this work in a solo exhibition at Marrow Gallery in San Francisco.

Crafted from porcelain, jute, raffia, sand, and wood, this body of work embodied a sense of ritual and reverence, evoking ceremonial and totemic forms. Weaving traditions—long used as a means of storytelling across cultures—were both honored and reinterpreted through layered embellishments and textural interplay. A quiet theatricality emerged, with many pieces suggesting masks or relics, while remaining deeply rooted in the raw, organic integrity of their materials.

I presented this work in a solo exhibition at Marrow Gallery in San Francisco, as well as a traveling exhibition throughout the US over the course of five years.

This body of work reflects my time in the Mojave, Sonoran, and Chihuahuan Deserts—vast, mercurial landscapes that have shaped my practice over the years. Through gestures of reflection, obscuring, and suspended movement, I sought to distill the desert’s arid stillness, shifting palette, and its paradoxical sense of both expansiveness and unknowability.

Linen, merino, and cotton—infused with cochineal, porcelain, and earth pigments—emphasize the tactile intimacy of a knotted or stitched surface, transforming each piece into a textured terrain. Weaving, wrapping, and knotting intertwine with hand-built porcelain and stoneware, echoing the ephemeral nature of the mirage, where materiality dissolves into illusion.

I presented this work in a solo exhibition at Marrow Gallery in San Francisco, as well as a presentation at Pocoapoco in Oaxaca, MX at the completion of my residency.

This work reflects the desert’s arid stillness, shifting palette, and vast unknowability through reflection, obscuring, and suspended movement. The grid emerges naturally—a familiar yet fluid structure—framing the desert’s elusive space.

Through dyeing, weaving, wrapping, and painting, I capture moments in time, allowing repetition to guide intuition. A month in the Joshua Tree desert, surrounded by cottontails and rattlesnakes, sharpened my awareness of its subtleties, deepening my exploration of its color and texture.

During my residency at the Icelandic Textile Centre, I created large-scale, movable sculptures—both woven on and off the loom—using local materials such as wool, N1 cotton threads, and foraged plant fibers. These sculptural weavings engage with space, both in the wilderness and within the gallery walls. They are complemented by smaller, daily responses—embroidered, woven, and drawn—that reflect my ongoing learning and experience throughout the residency.

Reticulation: MFA Thesis

In my thesis, I explore the grid through the lens of both weaving and painting, drawing comparisons to artists such as Anni Albers, Agnes Martin, and Sheila Hicks. I examine how the grid manifests within the intersection of form, content, and medium, expressed through process, hand, and material. Reticulation, the title of my thesis exhibition, represents the culmination of my personal explorations and ideas.

My work exists within the ongoing dialogue between the grid and its manifestations as form, content, and medium, explored through threads, weaving, and painting. I harness the inherent power of materials to create architectural frames that support weighted objects in space—objects that can be further examined within the context of this body of work, which draws inspiration from my California home.

Linen, merino, and cotton are enhanced with indigo, precious metals, and various pigments, emphasizing the texture and dimensionality of knotted or stitched forms, and transforming the canvas into a dynamic, tactile surface.

Liz Robb Studio is now accepting commissions! Whether you’re looking for a custom piece or a collaborative project, we welcome the opportunity to bring your vision to life. Each commission is a thoughtful exploration of material, form, and texture, tailored to your space and concept. Reach out at liz@lizrobb.com, and let’s create something exceptional together.

Liz Robb Studio originated in the Dogpatch neighborhood of San Francisco and is now based exclusively in Los Angeles.