Victoria Manganiello

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Victoria Manganiello

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Artist Victoria Manganiello invites guests to explore the intersections between food and fiber in Mordant. This is a series of dinners prepared by the artist and served upon a tablecloth she wove by hand. The meal is served in such a way that the food inevitably meets the cloth, demonstrating the color and dye potential of the ingredients cooked with the fibers woven. Prepared to leave lasting marks, Manganiello translates each dinner into a painting canvas which then becomes an homage to the ingredients, fibers and persons of a particular evening and place.

In collaboration with filmmaker Kristin Kremers, Mordant will be the focus of an upcoming film by the same name that explores our subliminal and ubiquitous connections to textiles and color. The film will follow Manganiello and Kremers as they conduct dinners around the world. New York and NY Textile Month mark the one stop along this journey to document the nuances of color and cloth with dinners planned for Transylvania, Romania, Kyoto, Japan and others.

For tickets and more information, please visit Eventbrite.

About Victoria

Victoria Manganiello is an artist, educator and producer. She creates paintings by spinning, dying and weaving her own canvases, using materials like synthetic and natural dyes, cotton, silk and other mixed materials.

Exploring themes of time, space, and history with abstract imagery, her paintings and installations seek to physically control and manipulate space. Created on a floor loom, every millimeter of the material used to form these paintings and installations has passed through her fingers, each mark carefully considered, yet motivated by intuition.

Her work often focuses around the mysterious and inspiring results of collaboration both between persons and materials.

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Artist Statement

The woven structure is a powerful representation of strength and weakness. I create my own canvases to produce paintings that illustrate the possibilities of working in multiple dimensions by adding depth and texture to the spatial aspects of the piece as well as the dimension of time.

We function within society rigidly adhering to the assumed understanding of the concept of time. It is in every way that matters linear; simply stated, one thing happens before the next and after the previous. The heart beats. It follows the beat that preceded it and is, hopefully, followed by another. From the unconscious functioning of our organs to the sharing of our lives with family and friends, we draw lines to connect our experiences together, marking moments as we move.

The act of weaving is linear also; however, I deviate from that prescribed path, utilizing color, tension, and density to take timelines off the straight and into the abstract path, curved by the forces of mass and gravity I am guided.

The appeal of mastering an ancient art so that I can explore its limits and define its future is irresistible. It is intuition that creates structure and whether shorn, shed, or created in a lab, every material that initially passes through my hands informs all that follows.

A dialogue with the medium means that the colors and composition chosen fulfill the purpose of the piece. My woven paintings allow for color and space to interact adjacent to the interaction of medium. Where fiber acts as a ground, color acts as the figure. Where dimension is meaning, artwork is produced.

I use color to create perceptual groupings of form that allow for magic and mystery, producing a space where viewers can impose their own story, their own explanation.These objects, representing and embodying timelines, are simultaneously milestones in my own life, having been born and bred within the context of my life’s moments.

A viewer can place themselves within the woven structure (there is room for them) and find a way to use the abstraction as a mirror into their own lives—whether from the past to the present to the future or in some other order.