Zoë Buckman’s Art: Weaving Trauma and Identity at Art Basel Miami Beach

Zoë Buckman’s latest exhibition at Mindy Solomon Gallery during Art Basel Miami Beach marks a significant evolution in her artistic practice, which has traditionally centered on gender disparities. In this new body of work, Buckman seeks to elevate the Jewish community, addressing the discrimination and isolation it has faced amid the ongoing backlash to the war in Gaza. Her approach challenges stereotypical portrayals and emphasizes the dignity of her community, reflecting on the broader implications of representation in contemporary art.

New York Observer

Buckman employs a unique visual lexicon that combines ink and acrylic painting on vintage textiles, which she hand-embroiders. This labor-intensive process symbolizes the dedication required for meaningful human connections. Buckman describes her work as a means of reconnecting with the legacy of women and the ancestral function of textiles as repositories of memory and storytelling. The emotional depth of her pieces is enhanced by the visible labor of sewing, which allows her to explore themes of grief, spirit, and connection. “There’s this tension in the thread: it looks like it’s holding everything together, but it’s also coming apart,” she notes, highlighting the duality of presence and absence in her work.

New York Observer

In a notable shift, Buckman includes male figures in her latest pieces, such as a work depicting a gay friend, which she views as a step toward reconciliation with her past experiences involving men. This inclusion reflects her desire to explore tenderness and healing, moving beyond previous narratives of conflict. Additionally, her works address intergenerational trauma, emphasizing the need for reflection and recognition in the healing process. Buckman’s subjects, particularly women, remain central to her narrative, asserting their agency and complexity.

New York Observer

Buckman’s engagement with art history is evident in her piece "smells like light," inspired by a painting from Henry Taylor’s retrospective. This connection underscores her commitment to addressing who is represented in art and the erasure of certain identities from the canon. Her use of repurposed textiles, often passed down through generations, serves as a medium for exploring intergenerational trauma and resilience. “They all already hold stories, carry memories,” she reflects, emphasizing the importance of these materials in her artistic narrative.

New York Observer

Buckman has faced challenges in exhibiting her work, particularly in the context of the current climate surrounding the Gaza war. She notes that some pieces were removed from exhibitions due to perceived hostility, raising questions about representation and censorship in the art world. “These are my Jewish family and I, and these works were somehow censored,” she states, highlighting the ongoing struggle for visibility and acknowledgment of marginalized communities.

New York Observer

• “I started in photography. That was where I got my art education,” — Zoë Buckman, Artist

New York Observer

• “It’s a question of what exists beyond the tradition. Are these figures emerging, or are they disappearing?” — Zoë Buckman, Artist

New York Observer

Through her intricate textile works, Zoë Buckman not only addresses personal and collective trauma but also reclaims narratives that have historically been marginalized, making her exhibition a poignant commentary on identity and representation in contemporary art.

New York Observer