Through the Thread

Rockwell Museum of American Art

March 2018 through February 2019


Material Synthesis: The collaborative art of Crystal Gregory and Alexa Williams

by Roman Kalinovski

Surface Design Journal Winter 2014

Beyond the Surface

by Michael Milano

The Leonore Annenberg Scholarship, Fellowship, and School Funds

for the Visual and Performing Arts

Fellowship Recipient 2013-2015

Q & A 

Fellow Profile


Tappan Collective, Los Angeles

Momentum Gallery, Asheville NC

Morgan Leehman Gallery, New York

Kathy Imlay Gallery

The Event of the Thread

Showing at 21c LEXINGTONOn display from January 2020 - March 2020


Crystal Gregory

The Event of a Thread, 2020. Scaffolding, concrete tubes, hand woven textile.

“As an individual, each thread is prone to stress strain and breakage, but as a collective the burden of tension becomes bearable. A cloth composes a tensile strength. It loops, interlaces, and interlocks with its neighboring threads to create a greater sum of parts.” – Crystal Gregory

The three components comprising The Event of the Thread are seemingly simple: white construction scaffolding, concrete tubes, and hand-woven textiles. The installation’s complexity comes from connections and interactions between these materials changing over time, and reflects Crystal Gregory’s deep thinking about these materials’ individual characteristics and their interactions when arranged together. More than just a static sculpture, Gregory will regularly rearrange the installation to reveal new aspects of the work. Each posture or state of the installation shifts relationships of weight, support, tensile strength, and compression. Over the length of the exhibition these changing relationships reveal a choreography of movement, action, maintenance, and utility.

On January 25th, Gregory collaborated with the dance company The Moving Architects to add the moving human body to the composition with their original choreography. This performance can be seen in the accompanying video.

Crystal Gregory is a sculptor who creates intersections between textile and architecture. Originally from California, she now resides in Lexington where she is an Assistant Professor within the School of Arts and Visual Studies at the University of Kentucky. Her work has been exhibited nationally and internationally, and featured in multiple publications.

The Moving Architects, under Artistic Director Erin Carlisle Norton, is a female-centric dance company that channels the authentic complexity of both the current and historically lived female experience into dance works edged with charged movement and feminine strength. The resulting dance works reveal intense female performances that make connections between bodies in motion, location and space, as well as historical and physical experience.

Special thanks to our partners at Imlay Gallery.

Textile Study Group of New York


JANUARY 15, 2020 AT 7PM

Meeting Information
Date Wed., January 15, 2020 at 7pm
Pre-meeting conversations begin at 6pm

Meeting Location
Community Church of New York Unitarian Universalist 40 E. 35th St. (between Park & Madison Avenues), New York, NY. (Entrance at street level on the far right of the church itself; doorway marked #40.)

Free for TSGNY’s Full, Donor, and Student Members. $15.00 for Newsletter Subscription Members and Guests. Admission fees support TSGNY’s Nancy and Harry Koenigsberg Award.

Soft Dedication

December 14 - February 16
LocHal, Tilburg, NL

An exhibition about art and textile Inner peace, harmony and happiness: terms that are often mentioned when you ask craftsmen about their experiences while working. There is very little that gives the same inner peace and harmony as needlework. It is contagious, addictive and connecting. Textile techniques are still passed on from generation to generation. Contemporary artists weave, crochet, sew, knit and embroider. It is currently (again) a trend. Kunstloc Brabant invited the artists Marjan van der Heijden (1992) and Cécile Verwaaijen (1968) to show their love for this material in an exhibition. In addition to showing their own work, they chose artists who, sometimes seriously and sometimes with a wink, enter into a dialogue with the craft: Marloes Vreeswijk (NL); Crystal Gregory (US), Elke Lutgerink (NL) and Barbara Polderman (NL).

Interwoven: Joan Snyder, Judy Ledgerwood, Crystal Gregory

September 14th to December 8th

The UK Art Museum, Lexington, KY


This exhibition features work by three distinct artists whose diverse paintings and sculptures share a deep engagement with materials and process, formal concerns, and expressive gesture. 

A groundbreaker in the feminist art movement of the 1960s and 70s, Snyder has created a rich visual language that combines rhythmic, impastoed mark making, flower and plant imagery, and diaristic language. Ledgerwood’s canvases and large wall paintings mine various ornamental and craft traditions, confidently using metallic paints and vivid colors that are linked to home décor and female sexuality, and repeated forms that acknowledge the history of patterned quilts and bedspreads. Gregory, an assistant professor in fiber arts in the UK School of Art and Visual Studies, produces traditional weavings that she embeds in cement or alters with cast metals, exploring the gap between object and installation, strength and pliability.

Interwoven explores how art conditions once derided as “too personal” or 
“decorative” can be reclaimed by thoughtful practitioners into powerful affirmations of being. 

Judy Ledgerwood, Pretty Monster, 2015, oil and metallic oil on canvas. Courtesy of Tracey Williams Ltd. NYC.

Painted Thread

September 2019–January 2020

Visual Art Center of New Jersey, Summit, NJ

Main Gallery

Painted Threads explores the intersection of weaving and painting in contemporary art. Beginning with the loom, the artists in the exhibition deconstruct elements of painting and weaving, and reconfigure paint, thread, and other materials to create unique hybridized works that blur the boundaries between fine art and craft. Participating artists include Mark Barrow and Sarah Parke, Samantha Bittman, Crystal Gregory, Hildur Ásgeirsdóttir Jónsson, Victoria Manganiello, Desire Moheb-Zandi, and Oriane Stender

Desire Moheb-Zandi, Maze, 2019, Paper, cotton, silk, linen, roving wool, wire, polyfil, nylon, rope, wood, paint, and cord, 90 x 41 x 11 inches Courtesy of the artist

Knows No Bounds

Opening reception: Friday, September 13th, 2019 from 7 – 11 PM

Show runs through October 20th, 2019

Heaven Gallery, Chicago, IL


With work by: Ben Pederson, Gwendolyn Zabicki, Jaclyn Mednicov, Zachary Buchner, Mike Rea, Rachel Eng, Phillip Maisel, and Crystal Gregory
Curated by: Denise Joseph


The Sensory Tethers You’ll Find in Textiles

Woven Walls, a tightly curated summer show at Morgan Lehman Gallery, explores a language between the threads of different textiles.

Seph Rodney July 15, 2019

Woven Walls

June 6th to July 26th, 2019

Morgan Lehman Gallery, New York, NY

Paolo Arao

Carly Glovinski

Crystal Gregory

Elana Herzog

Tamara Kostianovsky

Morgan Lehman is very pleased to present Woven Walls, a summer group exhibition featuring five artists whose unique practices mine the historical, material, and imagistic possibilities of textiles. The artworks on display occupy a range of formats including painting, sculpture, and installation, and utilize notions of the textile as both a source of inspiration and a generative tool for expanding the vocabulary of contemporary art. Here, dyed fabric is deployed like paint and becomes a means to channel color; patterns provide a framework for abstract compositional strategies; discarded garments become the building blocks of three-dimensional structures; weaving serves as a process of construction and material transformation; and the sociopolitical weight of the textile tradition initiates a conversation about human labor, sexual politics, and freedom.

Patterning Resistance

April 13th to April 25th, 2019

Parachute Factory, Lexington, KY

Patterning Resistance features artists, Becky Alley, Annette Lawrence, and Crystal Gregory, whose works are structured by a feminist approach to systems. They embody a tension between the fixity and fluidity of form—emphasizing materiality’s resistance to the precise articulation of the patterns that ostensibly determine them. Against masculinist systems of mastery, autonomy, and control, their work stress vulnerability, contingency, and co-production. Their starting points are systems that bind them to others (e.g., historical designs, personal data, and national statistics on violent crime). However, they materialize these patterns a manner that redirects their normative uses and produces dynamic reverberations. Locating patterns, examining them, and intervening in their structure, these artists transform them through processes resistant to the paths laid out before them.  


For this show, Becky Alley’s has constructed an installation that meditates on researched statistics of domestic violence in Kentucky. Utilizing bed pillows and plaster to transform data points into physical manifestations of loss, she will create a large-scale memorial for the women killed by their intimate partners during the past year. Annette Lawrence presents a series of graphite drawings based on charts that document presence or absence of journal entries over a 25-year period. This personal data silhouette at once reveals the quantity of activity, while withholding the actual content, thus maintaining the privacy inherent in journaling. By offering viewers a chance to mine her data, but not grating them full access, Lawrence’s opaque autobiographical graphics confront the viewer with their own voyeuristic desire to see her private daily activity as well as a moment to reflect upon their connection to a particular moment in time. Crystal Gregory has produced a woven textile & concrete sculptural installation that considers how overlooked materials bind us. Inspired by the patterned threads that are left cascading out of the underside of the fabric in traditional “overshot” cloth, Gregory will utilize the seemingly inessential decorative threads to hold the weight and burden of the structure. Inviting local artists to work with her to tie the ends of the patterned threads together, they will together contemplate the question of what binds us to one another.


Curated by Miriam Kienle, Assistant Professor of Art History at University of Kentucky

© 2019 Crystal Gregory

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