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In Pearl Fontaine’s article, she observers with Zoe’s “alter ego as its namesake, the works included in “NOMI” offer a continuation of Buckman’s practice of using found domestic textiles as her canvas. Viewers will find moments of power found in the acts of healing and expression, embodied in embroidered figures and text, a selection of

“Often sewing her trauma directly onto fabrics, artist Zoë Buckman’s work always starts from an autobiographical place; for the London-born creator, art making is a meditative practice, one that helps her interrogate deeply personal experiences and transitions,” says Sara Radin. Read the full article here.

“When we hear the word ’embroidery’, it often brings to mind the idea of an older, refined past time. We picture beautiful, intricate patterns of flowers and views of rolling hills in the prairie. We might even imagine a Jane Austen character working on her embroidery skills to improve her marriage prospects – as any

“Buckman is known for exploring the imbalance of power and gender violence, as well as installations that honor and praise the feminine. Her multi-media consist of textiles, embroidery, and other items collected from the unlikeliest places to inspire feminist art, from her late mother’s cupboard to a gritty boxing gym,” says Tanya Klich. Read her

In Ken Scrudato’s article, Zoe states “The ethos of YoungArts is very dear to my heart. I was educated in the post Thatcher London state schools system, where creativity was rarely fostered or nurtured; so the idea of providing young artists with excellent mentorship and career-long guidance is such an important and essential one.” Read