I’m excited to share photos of my new exhibition, which opened last weekend at the Albany Institute of History & Art. Enchanting Threads: The Art of Salley Mavor will be on view for 7 months, through March 2, 2025. So, there’s plenty of time to plan a trip to Albany, NY with your friends and family! For those who live too far away to visit, I’ll try to give you an idea of how the show looks.

The museum’s exhibition team did a fantastic job designing the layout and hanging my artwork, which is spread throughout 4 galleries. It’s one of the most artful and tasteful presentations of my life’s work that I’ve seen!

For the first time, visitors will see both original embroidered artwork and 8 ft. tall printed enlargements of some pieces, including Summertime, from my series of seasonal landscapes. I’m glad that Rob took hires photos, so that the blown-up reproductions are clear enough to see every stitch. It feels as if you could step inside the scene and pick raspberries!

The framed 24″ high originals in the four seasons series are displayed together. Over the past few years I’ve documented the process of making Mossy Glen, Summertime, Harvest Time, and Frosty Morning with photos, videos and commentary.

Enchanting Threads includes just about everything in my personal collection, from the doll house I made in 1975 to Birds of Beebe Woods. Past exhibitions have included several pieces on loan from private collectors, but I figured that borrowing artwork from their owners for 7 months was too much to ask.

The show features over 100 framed tableaus, original picture book illustrations, and sculptural objects from the past 40 years, including fairy houses, walls crowded with wee folk dolls, and the cast of characters from my stop-motion film Liberty and Justice.

Bedtime Stitches, the touring exhibition of the entire collection of original illustrations for my most recent picture book, MY BED: Enchanting Ways to Fall Asleep around the World, is included, too. To find out where Bedtime Stitches is going next, please visit the Exhibitions Page.

I had an opportunity to walk around the galleries with museum staff and docents, and answer questions that they thought visitors would be curious about, such as how long it takes to make a piece (2 to 6 months) and if everything is really hand stitched (it is). I’m looking forward to returning to Albany to give a talk about my work to the general public in early December (date TBA).

At the opening, I had the pleasure of meeting Janny Mironchuk, a long-time fan, who is responsible for bringing my work to the Albany Institute of History & Art. At my urging, she contacted the museum’s curator and suggested that they consider hosting an exhibition of my work. I’m grateful to Janny for approaching the museum and helping to set the stars in alinement for this exhibition to happen!

Over the years, I’ve come to realize that landing an art show is an art in itself, with no sure path to getting there. For me, attracting the attention of exhibition committees and curators hasn’t been easy. I’ve sent out countless proposals that go unanswered, but every once in a while, I hear from a venue that wants to work with me. These opportunities often involve fans who are passionate about my work and want to see it in person, close to where they live. A personal recommendation from someone who is part of a museum’s local community can sometimes convey enthusiasm better than an artist’s own entreaty can, especially if one’s art is not easily defined. Happily, plans are underway for two solo exhibitions in 2025 and 2027, which will be listed on the Exhibitions Page when their locations and dates are confirmed. That being said, I certainly welcome inquiries from museums and art centers who are interested in hosting future exhibitions.

I believe that my embroidered pieces have the most value when they are put on public display, where people can become emersed in their detail and 3-demensional quality up close. That’s why I’ve decided not to deplete my supply of original artwork by selling it. (Books, prints, cards and puzzles are for sale in my shop.) Otherwise, it would take many years to create enough new pieces to fill an exhibition space. Now, I always have a body of work available to show. After 50 years of single-minded dedication to making art, I feel a shift taking place. Instead of stitching every spare minute, I’m happy to take time to play with my grandchildren and weed the garden. I don’t know what’s coming next, but my wish is to keep living an artistic life and to share my vision with the world.

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