Q&A: Artist Sienna Martz

What inspired you to start working with fiber art and sculpture?
As an artist, I’ve always been drawn to organic forms found in nature—irregular movement, lack of consistent edges, and repetitive shapes that build into something visually magnificent—and fiber art and sculpture have felt the most in-tuned with my vision to abstractly re-create the natural world around us.

Another defining connection I have with fiber art and sculpture is that they have been passed down through generations in my lineage. The deep-rooted history of honing and cherishing these art forms, both for function and beauty, in my family and in human existence captivates me to continue these practices in an experimental and contemporary way.

Could you walk us through your artistic process of transforming secondhand clothing and fibers into sculptural pieces?
My artistic process of transforming secondhand clothing and plant fibers into sculptural pieces involves a blend of systematic decision-making and intuitive play. Similar to what we see in nature, my art is built upon time-intensive processes with repetitive shapes and movement. I've always been fascinated with how one single object can transform into something entirely new when placed alongside multiples of itself.

Often, I start with a process and material I want to explore that leads me to an unpredictably exciting art piece at the end of its creation. The interplay between materials can become an essential element of my art when working intuitively. While giving myself only a certain amount of control over the manipulation, I love letting the materials’ natural reactions to different processes take place. Alternatively, I often mock up exactly what I intend to create, especially with bespoke pieces, and execute that vision from start to finish. This form of art-making is very satisfying as well.

When did you decide to become vegan, and what influenced that decision?
I was born and raised a vegetarian, and nearly a decade ago social media exposed me to the harsh realities of the animal agriculture industry. The shocking truth of animal cruelty inherent in the industry, the environmental devastation, and the harm to human health was so apparent I could no longer tolerate being a part of it.

Motivated by anger, heartbreak, and a drive to be more conscious, transitioning to an ethical vegan lifestyle was easier than I anticipated. My ethical values guide what I eat, what clothing I wear, what companies I support, and, inevitably, how I make my art. I had this huge "aha" moment years ago when I realized that the most common materials used by textile artists come from animals—such as wool, mohair, leather, and feathers—and these materials are connected to the inherent cruelty and environmental destruction of animal agriculture. That's when I decided to work exclusively with plant fibers and eventually with secondhand clothing as well.

How does your practice ensure minimal impact on the environment?
As an eco-conscious artist, my goal is to reduce environmental harm as much as possible, from the materials I use to the companies I buy from to how I package and ship my artwork. Navigating sustainability and challenging the prevailing currents of consumerism can, at times, be incredibly intimidating. However, every step we take to reduce our negative impact has a huge collective influence on our planet.

At this stage in my career, I choose to work with secondhand fabrics, eco-friendly plant fibers such as organic kapok, bamboo, and organic cotton, non-toxic paints, non-solvent adhesives, plant-based and compostable plastics, and recycled paper, to name a few. As I grow as an artist and as sustainable innovations become more readily available, my art practice will continue to evolve to ensure my work has a minimal impact on our planet.

Are there any difficulties associated with using the types of materials in your work?
The biggest difficulty I face is access to sustainable materials at local stores in my rural area. As a result, I source a majority of my materials online and am required to have them shipped to my studio in Southern Vermont. However, I believe as environmental awareness continues, corporations and businesses will meet the needs of the growing conscious consumers and provide more sustainable options in stores.

Can you explain how you convey the spirit of nature through your sculptures?
The spirit of nature is conveyed through the textures, colors, shapes, and materials I use to form my soft sculptures. My art visually mimics organic forms and patterns, flora and fauna, and aquatic ecosystems found in the natural world while conceptually highlighting nature's inherent need to establish balance and preserve its existence during a historic time of human overconsumption and misuse of our planet's resources.

We'd love to hear more about your upcoming solo show at Soapbox Arts in Vermont this August. Can you tell us about it?
I'm overjoyed about my solo show Echoes of Earth at Soapbox Arts! The exhibition addresses a cautionary tale through abstract wall sculptures of the consequences of dissonance between humanity and nature. Throughout the exhibition, I use bright and colorful motifs to represent the Earth’s aposematic warnings to establish balance. In contrast, the absence of color in select wall sculptures highlights nature's strained response to human interference.

Echoes of Earth also explores the adaptability of nature and how, over time, it asserts its dominance to erase human imprints and restore equilibrium. With each piece, I invite viewers to reimagine the role of art in society, positioning my work not just as an object of beauty but as a catalyst for cultural transformation and sustainable thinking.

Can you highlight a work that you feel most effectively represents your values and artistic vision?
I’ve just finished a new diptych wall sculpture for my solo exhibition titled Symbiosis, which is made of secondhand garments, organic kapok fiber, eco-friendly paint, and linseed-oiled birch wood. This 11 ft x 5 ft piece is a vivid testament to the adaptability of nature and how different beings can harmoniously thrive among one another through thoughtful unification. Additionally, the material use challenges the status quo, confronting the environmentally destructive norms of the textile industry, urging a reevaluation of our environmental footprint and a move towards more ethical consumption habits.

Are there any forthcoming projects that you’re especially enthusiastic about?
What lies ahead with my art practice in the coming year is exciting! I'm currently working on a sculptural tapestry for the exhibition Carpet Diem in Paris this November at Espace Commines; I'm writing a contemporary art book to be published with Lantern Publishing & Media titled The Ethical Fiber Artist: A Guide to Becoming a Cruelty-Free & Eco-Friendly Fiber Artist; and I'm creating a bespoke sustainable sculpture for a client's eco-forward yacht in Europe.