Developed during a period of research and making in Provence, this series was shaped by the colors, textures, and rhythms of daily life in Lacoste. Working with natural dyes, pigments, and locally sourced yarns, I created sculptural woven and wrapped forms informed by sketches, collected materials, and sensory observations from the surrounding landscape. La Vie en Rose became an informal refrain throughout the process, subtly threading itself into the work.

The series was later presented in a solo exhibition at Marrow Gallery.

Combining porcelain, raffia, jute, sand, and wood, this series examined accumulation, adornment, and the symbolic language of woven form. The resulting sculptures referenced masks, relics, and ceremonial objects while emphasizing texture, weight, and material contrast.

The work was first presented at Marrow Gallery, with two works later included in a national touring exhibition.

Emerging from time spent in the Mojave, Sonoran, and Chihuahuan deserts, this body of work reflects an ongoing engagement with arid landscapes, shifting light, and spatial ambiguity. Through layered gestures of wrapping, knotting, and suspension, the pieces evoke mirage-like states where materiality begins to dissolve into illusion.

Using linen, merino, and cotton infused with cochineal, indigo, and earth pigments, I combined woven and stitched surfaces with hand-built porcelain and stoneware elements to create textured, terrain-like forms.

The series was first exhibited at Pocoapoco in Oaxaca, Mexico, at the conclusion of my residency, and later presented in a solo exhibition at Marrow Gallery.

This body of work responds to the desert’s arid stillness, shifting palette, and spatial ambiguity through gestures of reflection, obscuring, and suspended movement. The grid emerges as both structure and atmosphere—simultaneously grounding and unstable within the landscape’s vastness.

Through dyeing, weaving, wrapping, and painting, I use repetition and accumulation to trace fleeting shifts in color, texture, and light. Developed during a month-long period in Joshua Tree, the work reflects an intensified attention to the desert’s quiet rhythms and subtle transformations.

Created during my residency at the Icelandic Textile Center in Blönduós, these large-scale sculptural weavings explored movement, environment, and spatial tension through both on- and off-loom processes. Using Icelandic wool, N1 cotton thread, and foraged plant fibers, the work shifted between the openness of the surrounding landscape and the contained architecture of the gallery.

Alongside the larger forms, I produced smaller daily studies—embroidered, woven, and drawn responses that documented material experimentation and my evolving relationship to place 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.

I welcome commissions and collaborative projects that allow for an ongoing dialogue between material, architecture, and atmosphere. Each piece is developed in response to its environment, resulting in sculptural works that are both tactile and site-responsive.

For inquiries:
liz@lizrobb.com

Originally established in San Francisco’s Dogpatch neighborhood, the atelier is now based in Los Angeles.