Christine Mauersberger is an American artist who produces complex mark-making narratives in multiple media: paintings, embroidery, and installation works.
Her work is featured in private and public collections, including Southwest General Hospital and Metrohealth hospitals in Northeast Ohio, Baker & Hostetler in Columbus, Ohio, and the Glidden House in Cleveland, Ohio. She has been published in Slow Stitch: Mindful and Contemplative Textile Art and Second Skin: Choosing and Caring for Textiles and Clothing, and in the 2016 updated edition of The Encyclopedia of Embroidery Techniques as well as various print and online publications.
Her installations have been included at the Ohio Arts Council Riffe Gallery in Material Pulses: 8 Viewpoints and Rooms to Let: CLE. Her most recent art installation, The Plastic Holds No Water, was designed to provoke discussion about the harmful effects of mankind’s use of plastic on Earth’s water. Her multi-layered, indigo-dyed linen artwork was shown in the Biennale du Lin de Portneuf in Quebec, and in the Linen Biennale in Northern Ireland.
She has taught meditative hand stitching workshops around the world, from throughout the USA, to Switzerland. She has been the recipient of several fellowships and awards; most recently, she received the award for excellence in art from the Ohio Arts Council for the second time.
She has been the recipient of numerous fellowships and grants, a Creative Workforce Fellowship in Cuyahoga County, Ohio, a Windgate Craft Artist Fellowship, and the Ohio Arts Council Award of Individual Excellence for a second time. She lives and creates in her native Cleveland, Ohio less than ten miles away from the Slovak civic club where her parents went dancing every Saturday night when she was growing up.
Growing up, the sound of my mom at the sewing machine was the sound of comfort in the evening; it was the sound of home, and a signal that all was well. Like my mother before me, I work primarily—although not exclusively—with textiles and stitching. For me, the process of mark-making, whether stitched, drawn, or printed, is my way of making a physical artifact of the progression of time. Many of the natural materials I incorporate into my artwork are only available during a brief window, and through my art the fallen leaves, sticks, black walnut hulls, and other natural ephemera I find during autumn walks through my Clifton Shoreway neighborhood, in the Cleveland Metroparks, or at the Lake View Cemetery are preserved, becoming botanical prints, eco-dyed scarves, or stitched leaves rather than being buried in the snow.
My installations, on the other hand, rather than eternally preserving a moment in time are transient themselves—like us, they are there and then gone. My room-sized installations in Rooms to Let: CLE, for example, were installed in a foreclosed home in Slavic Village, and while the human-scale nest I constructed of lathe reclaimed from the walls might seem secure nestled under the attic eaves of the sturdy century home, it was demolished along with the house, which was razed after the exhibit.
It is my hope that my work captures not only the reality of time passing, but also the transient nature of life itself.
1286 West 112 St
Cleveland, OH 44102
An interview with greater Cleveland artist, Christine Mauersberger shares her love for stitching and the serenity that comes with the process of creating her work.
Christine Mauersberger is a 2013 Creative Workforce Fellow. The Fellowship program offers $20,000 awards and additional support for artists in Cuyahoga County. The program is made possible by the generous support of Cuyahoga County residents through Cuyahoga Arts & Culture.