Oct 04, 2017 11:24AM
By Kim Reiner
The story of Mary Zicafoose—and her “Hope & Healing” tapestries—is one of unwavering focus, intensity, family tragedy, and a simple red scarf.
The world-renowned weaver’s two tapestries, each measuring 12 feet long and more than 9 feet wide, were recently unveiled in Omaha.
Not in a gallery. They’re in a hospital.
“Hope & Healing” hang in the lobby of the Fred & Pamela Buffett Cancer Center. The words “hope” and “healing” are woven in 16 languages. The two tapestries greet those entering through the center’s front doors.
“It’s very powerful to put all who come into the cancer center at ease—from our patients, their families, staff, students, and visitors,” says Amy E. Jenson, executive director of the Healing Arts Program at the Buffett Cancer Center. The Healing Arts Program aspires to reduce pain perception, anxiety, and depression in cancer patients.
It took Zicafoose, with the help of three studio assistants, almost one year to create the two tapestries. They worked up to seven days a week in her separate wet and dry studios in Omaha. They worked daily in front of dye pots and looms. Her process, called ikat, which means “to wrap,” is methodical and intense. Ikat is a meticulous “resist dye” textile technique, measuring and stretching individual threads, grouping them into bundles, and wrapping portions of the bundles with fabric into a specific design. The threads are immersed in a dye bath, where the unwrapped areas soak up the dye while the wrapped areas resist it. All this happens before they are woven into a fabric. Precise measurement in the project was crucial, as the words “Hope” and “Healing” had to be wrapped, dyed, and woven exactly where the design specified. In the end, 1,000 skeins of yarn were used.
“Watch Mary working at her loom for just a couple of minutes, and you’ll witness this incredible connection between maker and material that a lot of young artists dream of achieving,” says Karin Campbell, Phil Willson Curator of Contemporary Art at Joslyn Art Museum. “She is deeply invested in not just the outcome of her weaving, but also the process. This commitment to the handmade and her willingness to toil sets Mary apart.”
In an artist statement on her website, Zicafoose describes the process as a “meditative activity that draws you in, not out. One that has triggered my memory of who I am and what I came to do.”
While at work on the project, Zicafoose says her thoughts often turned to family. To her brother. The one she lost.
Her brother died of cancer. The five panels of the two tapestries were, after all, destined to hang in a cancer center.
Zicafoose explains that his death fueled her perception of illness, and in a way, led to a mission that was years in the making.
“If there’s any way I can facilitate healing as an artist, I want to do it,” she says while seated in the contemporary lobby of the cancer center.
She did not take a direct route to get to this point.
Cancer took Zicafoose’s brother while they were both in high school in Michigan. Following the tragedy, everyone assumed she would be inspired to become a nurse, like her mother. But Zicafoose wasn’t interested in healing the world that way. Coming from a family of many artists, she gravitated toward creative therapy.
She studied photography as an undergraduate at St. Mary’s College/University of Notre Dame and then moved to Chicago, working in clay as a graduate student. While still in graduate school, she married and moved to Nebraska. The young couple lived on her husband’s family farm outside of Mead.
One prophetic day, a studio neighbor invited her to sit at a loom.
Her first piece was far from perfect (“It was a simple little red mohair scarf,” she says). Nevertheless, seated in front of the loom, Zicafoose felt she had discovered her destiny. She describes the artistic epiphany as a switch turning on.
“I’m glad it was so clear,” she says.
Knowing nothing about weaving, she learned the way everyone else has for the past 2,000 years: one baby step at a time. From weaving simple scarfs she moved to blankets, then she began to make tablecloths—approaching each piece as a fine artist rather than a craftsman.
Early on, she had big ideas but lacked the ability to realize them—at least not yet. She joined the Hand Weaver’s Guild of Lincoln for guidance, and, through several years of hard work, her abilities finally caught up with her ideas.
“I envisioned doing large-scale, graphically impactful tapestries. That was always the mission,” she says. “And today I am there, which is really satisfying.”
Zicafoose’s work hangs in U.S. embassies around the world, and in galleries, corporations, and homes throughout the country, including the San Jose Museum of Quilts & Textiles. They also hang in museums closer to home at the Bemis Center for Contemporary Arts in Omaha and the Museum of Nebraska Art in Kearney. She teaches, writes articles, and has held leadership positions, including eight years as co-director of the board for the American Tapestry Alliance.
“In her leadership role with ATA, Mary spoke passionately and eloquently as an advocate for contemporary tapestry,” says Mary Lane, executive director of the American Tapestry Alliance. “She inspired a level of professionalism and commitment in those with whom she worked...Despite her very successful and demanding career as an artist, Mary is always willing to give more.”
Others echo similar sentiments about Zicafoose’s work and dedication.
“She’s someone who’s enjoyable to work with because of her intensity to her art,” says John Rogers, owner of Gallery 72, where Zicafoose’s work once hung.
“Every conversation I have with Mary reminds me of why I became a curator,” Joslyn’s Karin Campbell says. “She is skilled, generous, insightful, and, perhaps most importantly, she possesses an unwavering faith in the power of art.”
Zicafoose explains her approach to the Buffett Center tapestries: “If you’re going to devote a year of your life to creating art for a building, the work must be powerful and the process so worth it.”
Zicafoose looks around the lobby of the cancer center, pausing to think about the work she’s done.
“We know that healing is a very complex paradigm, and Western medicine can only take us so far,” she says. “The arts are doorways to access subtle energy fields, that is what they do best. And if per chance the arts can carry and stimulate subtle energy for healing, then fill this place up with great art.”
Visit buffettcancercenter.com/facility/art-healing for more information about the Buffett Cancer Center where the “Hope & Healing” tapestries hang. Visit maryzicafoose.com for more information about the artist.This article was printed in the September/October 2017 edition of Omaha Magazine.