Sufie Berger

Gouache on paper

36" x 72"

“THE NEW TAPESTRY explores feminism in a more contemporary way, bringing climate change, social media, and historical significance into the dialogue. The self-portrait of Berger is featured in the mid-left corner of the screen of a phone, taking a selfie on Capitol Hill amid the destruction of nature all around her. Without even considering the inclusion of the unicorn in the picture, the painting highlights how society has prioritized industrial growth over the planet on which we live. Large factories in the top right represent Microsoft, Google, and Tesla, industries notable for disregarding the environmental impact of their endeavors. The unicorn's forest is being cleared out for timber, with a truck taking it away in the top left, and even with all this going on, Berger, in the center, is oblivious, focusing on the image of herself.

The importance of the unicorn in medieval art contradicts much critical feminist thought. The unicorn is often seen as a representation of either the life of Jesus or a woman before she is sold into marriage.  With the main goal to bring women away from these harmful stereotypes that have been created for women, the release of the unicorn from the cage symbolically releases her from the expectations of a life ruled by the wants of men. In the original tapestries, the unicorn was trapped in its fencing with a collar around its neck. The mesh of these two themes into one piece brings together many aspects of the world's current climate. With so much development, it is so easy to forget the impact of what is actually happening. Underground, Berger imagines a form of "Mother Nature" and how she is held beneath, unable to stop humans from ruining her planet. Berger's decision to use Mother Nature, the traditional life-giver, is trapped beneath the ground, slowly being poisoned by society.

Surrounding the trapped Mother Nature are several archeological works of other women throughout history, yet to be discovered. 

At the center of the woman's core are oval shapes that tie into much of the other symbolism, where Berger uses the oval shape to explain the macro and micro universes. This work transports the viewer into the world of the piece, tying back to Berger's personal history of living in Washington, D.C., the place that influences so much of what happens in our world.”