Fiber & Textile Work

SMB2016TX011, Speaky-Spokey,2016, 7%22X 4 1:4%22, Cotton & Thread, 72dpI



7″X 4 1/4″

Cotton & Thread


Coogi II, 2016,  4 3:4%22x6%22, Watercolor on paper with thread and silk organza, 75dpi

“Coogi II”


4 3/4″x 6″

Watercolor on paper with thread and silk organza

SMB2016TX007,Buss-Out,  6%22x2%22x 1:4%22, Thread & Cotton,72dpi_Black Background



6″x2″x 1/4″

Thread & Cotton

SMB2016TX006, %22Fuck Bitches Get Money II%22,5 1:2%22x5%22, Silk Organza, Muslin, Ink, Thread, 75dpi

“Fuck Bitches Get Money II”


5 1/2″x5″

Silk Organza, Muslin, Ink, Thread




12″x12″ 1/4″

Cotton, Acrylic, Synthetic Hair, Beads, Rubber-bands,  Thread



Cotton, Polyfill, Beads, Sequins, Silk, Thread, Chains


A jeu de mots, “Bread” uses the form of Black Dolls, a phenomenon that occurred between the 1870’s- the 1930’s in which cloth dolls were made by black women nannies for white children. “Bread,” combines the history of African slaves who were often stripped of their livelihood and forcefully bred to produce additional slave bodies with the creation of hip-hop, a tool used to escape the prevalence of poverty that many African Americans faced in the 70’s and still face today. The illusion of grandiose wealth i.e. “making bread” shown in the form of rap performers spitting about expensive jewelry, clothing, luxury cars, houses, etc. encourages people to grind to attain such wealth. 

My Grandmama Had Said, Cock Kill Cock Mouth_72dpi

“My Grandmama Had Said, Cock Kill Cock Mouth”


Cotton, Felt, Polyfill, Rope, Thread, Ink


Proverbs are metaphorical sayings normally based on a truth or on the general experience of humans throughout history. Jamaican Proverbs reflect African and European influences and the purpose of most of these proverbs is to teach about survival.”My Grandmama Had Said, Cock Kill Cock Mouth,” was inspired by proverbs I frequently heard growing up with my Jamaican grandmother. As an adult I still reflect on many of these sayings and the lessons that each taught me.


“Roots,” 2015

Silk, Cotton, Acrylic Paint, Hair


Growing up in a predominately Caucasian suburb the message of valuing straight long hair as beautiful while “nappy” hair as unclean and primitive was one the permeated my views on beauty from an early age. I vividly remember getting my first chemical perm at the age of 11 and continued this process for over 12 years. The processes that many women of color go through to achieve long straight locks often puts their scalp in danger. From abrasive chemicals, heat and tight hairstyles to glues and sewing in extensions the journey to black women loving their hair is a long one that is often never fully realized. “Roots,” is created to examine the negative connotations that women of color face when deciding to reject normal beauty standards and embrace their natural locks.

 SMB.2015.TX.001.Baby, Be Mine

“Baby, Be Mine,” 2015

Cotton, Thread, Acrylic Paint


Negative connotations often associated with hip-hop music are its degradation of the female body as one dimensional sexual objects. “Baby, Be Mine,” aims to combat those stigmas by collaging linguistics from hip-hop, R&B and pop musicians to create a piece about loving the black female.

SMB.2015.TX.003.Pretty Girls, Ugly Girls (Love)

“Pretty Girls, Ugly Girls (Love),”2015

Silk Organza, Thread

24”x 13” 


“cAke, CAke, cAKE, CAKE,”2014

Cotton, Silk Organza, Embroidery Floss, Thread

21 ½ x 21 ½”


Cakewalks were events in which slaves mocked the aristocratic and grandiose gesticulations of southern high society. Slave couples lined up to form an aisle down which pairs would take turns at high stepping through the promenade of others. The dance was held at the master’s house with the plantation owner as the master of ceremonies and judge deciding who would receive the prize, which was a cake. “cAke, CAke, cAKE, CAKE,” refers back to the history of cakewalks with modern desire for African-Americans to obtain notoriety and fame through outlets like music, dance and sports. The piece collages the lyrics of various genres of music, juxtaposing rap, R&B and alternative rock.

#Ratchet Quilt

“#RatchetQuilt,” 2015
Cotton, Felt, Paint, Thread
29″x 68″

Millennials, born between 1976 and 2004, are generally comfortable with the idea of a public internet life. This comfort with social media means they are good at self-promotion and fostering connections through online media. Fear of Missing Out (f.o.m.o) often results due to individuals image crafting; emphasizing their good qualities and exciting parts of their lives.  This often means recording, collecting and curating memories while seldom experiencing them in their truest form. With apps like vine and snapchat the objective is to create a short event that lasts for a few seconds and eventually gets erased. Instagram and Facebook are used to record and show the importance of ones life through images and updates. By combining slang often used in apps like Instagram and twitter, with the time-consuming method of quilting and embroidery “#RatchetQuilt” is an attempt to give permanence to vernacular created in 2014-2015.

SMB.2015.TX.006.Facts(?) photo credit_ Mary Pinto

“Facts (?)”, 2015
Silk Organza, Ribbon, Thread


With the increasing amount of police violence against American citizens I began research the amount of justifiable homicides that occur in the United States. My research shows many police stations are lenient on what they consider justifiable homicides and do not have to report these numbers to the Federal Bureau of Investigation. Meaning many citizens killed by police are not being recorded by the police station and therefore are not included in the Federal Government reports. Essentially these individuals do not exist. “Facts (?),”is a collection of data from justifiable homicides that took place between the years 2007-2012. It is a way of paying homage to the lives lost while calling attention to the staggering amount of individuals killed at the hands of police.


“Fro, YO!”, 2015

Hair, Beads, Thread

9” Diameter 1” Depth

“Fro, YO!” is a word play using ebonics; the language of African Diaspora, to create commentary on two trends that gained increasing popularity in the summer of 2014, frozen yogurt and going “natural” i.e. not rejecting  chemical straighteners and choosing to grow ones hair out naturally. During the Civil Rights Movement of the 60’s and 70’s the afro was seen as a symbol that reflected black pride and rejected notions of assimilation. “Fro, YO!” is a piece that asks the question, What happens when a political symbol becomes a trend.

SMB2016TX009,%22Punanny Get Serious, Cantankerous & Dangerous%22, 2016, 9%22 Diameter x 1 %22 Depth, Hair and Beads,72dpi

“Punanny Get Serious, Cantankerous & Dangerous”


9” Diameter x 1” Depth

Hair & Beads

SMB.2015.TX.004.Fly Black Boy.300dpi

“Fly Black Boy”, 2015

Cotton, Thread, Silk Organza

13.75”x 10.5”

By collaging the lyrics of various contemporary hip-hop artists, “Fly Black Boy” comments on stereotypes black males live with on a daily basis while encouraging them to rise about it.


“Beautiful”, 2014
Cotton, Embroidery Floss, Thread, Synthetic Hair, Beads
22”x 8.5”

“Beautiful,” collages stanzas from contemporary hip-hop artists commenting on the stigmas surrounding the Black Female. Often viewed at two extremes; jezebels (over-sexual sinners fallen from grace) or saints (virginal, endlessly caring for the needs of others), the black female often struggles to fit into these two molds.


“Honey Check it Out”, 2013
Cotton, Silk Organza, Embroidery Floss, Thread
10.5” x 6.75”


Early embroidery samplers were often done by middle-to-upper class Caucasian females as part of their preparation for future families while hip-hop sampling was created as a form of self-expression for the lower class African American voice. Combining the tradition of eighteenth-century American samplers with the tradition of music sampling and oral story-telling of the hip-hop movement created in the 70’s, “Honey Check it Out,” links five vocal artists from contemporary rap, old-school hip-hop and R&B to create it’s own visual story line.

SMB_Popped A Molly I'm Sweating_300Dpi

“Popped A Molly I’m Sweating”, 2013
Cotton, Silk Organza, Embroidery Floss, Thread
6.25” x 8”


“Advice”, 2014
Cotton, Embroidery Floss, Thread
17” x 8.5”


“Versace, Versace”, 2014
Cotton, Silk Organza, Thread
7” x 5 ¼”


SMB.2014.TX.001.Versace, Versace…Gucci, Gucci.72Dpi“Versace, Versace…Gucci, Gucci”, 2014

Cotton, Silk Organza, Embroidery Floss, Thread

4 ¾” x 4 ¼”


SMB.2014.TX.005.Make it Rain.Worries.300Dpi“No Worries”, 2013

Cotton, Embroidery Floss, Thread

6” x 3 ½”



“Hustle Hard”, 2014

Cotton, Embroidery Floss, Thread

11” x 7 ¾”

Using the tradition of quilting and color-coding, “Make it Rain” is one half of a diptych. Meant to be shown with “Hustle Hard,” the key to decipher the hidden message. Without the key the viewer loses the deeper meaning of the pieces. Both works deal with working hard, making money and showing one’s wealth.

SMB.2014.TX.005.Make it Rain

“Make it Rain”, 2014

Cotton, Thread

7” x 6”

Using the tradition of quilting and color-coding, “Make it Rain” is one half of a diptych. Meant to be shown with “Hustle Hard,” the key to decipher the hidden message. Without the key the viewer loses the deeper meaning of the pieces. Both works deal with working hard, making money and showing one’s wealth.


“Fuck Bitches, Get Money”, 2015

Silk, Cotton, Ink, Thread


“Fuck Bitches Get Money,” translates to mean, don’t pay attention to people around you, focus and work hard so you will be successful. This proverb is one that often comes up in hip-hop music. I believe when one grows up in a hostile environment, urban areas with violence and drugs for example, one learns from an early age that by keeping their head down, working hard and ignoring the violence and negativing  around them they will be rewarded with success so that they can become a provider for their family and friends.

SMB.2015.TX.011.Coogi 300dpi

“Coogi,” 2015

Watercolor Paper, Watercolor, Silk Organza, Thread


Australian clothing brand Coogi became popular in urban street wear during the early 90’s after rap artist Biggie Smalls began wearing their sweaters. The bright color schemes and intricate woven patterns set the Coogi aside from other urban clothing brands like Fubu and Roca Wear. Using the color scheme and pattern from Coogi Sweaters, “Coogi” pays an homage to the once popular street brand and Biggie Smalls.

SMB.2015.TX.012.Windows (red Squares)“Windows (Red Squares),” 2015

Watercolor Paper, Watercolor, Silk Organza, Thread



Sediments (Sentiments)

“Sediments, Sentiments,” 2015

Paper, Watercolor Paper, Pastel, Watercolor, Silk Organza, Thread


“Untitled (Triangles),” 2015

Watercolor Paper, Silk Organza, Thread

7”x 5”


Sharela May Bonfield Untitled Holes

“Untitled (Holes #3),” 2015

Watercolor Paper, Silk Organza, Thread

8”x 6”


Sharela May Bonfield Thread Drawing#3 White Background

“Untitled (Thread Drawing #3),” 2015

Watercolor Paper, Silk Organza, Thread

8”x 6”


Sharela May Bonfield All postcards

“Postcard Series: “Bitch Don’t Kill My Vibe”, “Everyday I’m Hustling”, “I’m in Love with the Coco”, “Shit Don’t Change,” 2015

Watercolor Paint and Thread on Watercolor Paper

Dimensions Variable


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