Penelope Dissembling in Frakutopia, 2015, tapestry jpeg


penelope dissembling in frackutopia, 2015

reproduced with discussion in: Tapestry Topics; ATA’s Quarterly Online Newsletter. Social Media Issue, Line DuFour, editor.  American Tapestry Alliance, vol 42, no 1, Spring 2016, p 27

Mary Lane:“Imaging the Self”. . . While time and different aspects of one’s personality might be presented over a series of images, Margaret Sunday, in “penelope dissembling in frackutopia” weaves a series of strips and assembles them in order to create her self-portrait. The strips build up in a geologic, sedimentary fashion: references to local fracking; a compromised skeleton; a drawing of a cast of her face from an earlier age. The montage of past and present, of environmental and physical factors creates a multi-dimensional representation of the influences that determine who she is. Her hand, the instrument of her labor, breaks free from the top edge in a gesture that suggests she is waiting to receive something. Wisdom from Penelope’s perseverance in the face of adversity? Self-knowledge? Perhaps it is the human induced seismic activity that has produced this fractured fairy tale.

Selected for reproduction in CODA: 2019, “Gallery”, Ellen Ramsey, editor, American Tapestry Alliance. CODA is a biennial magazine offered in limited edition print and electronic formats.


Granite Lace,  2007 

reproduced in:  Fiber Art Now  Winter 2014/2015  pp. 50-52  Micala Sidore:”The Art is the Cloth: Notes on Curating”                         





 A Transect Through The Enchanted Wood, 2011 

reviewed in: Tapestry Topics; A Quarterly Review of Tapestry Art Today Summer 2011, vol 37, no 2, p. 14

Kathy Spoering: “Small Tapestry International II: Passages” . . . The one presentation that most caught my eye is … Margaret Sunday’s “A Transect Through the Enchanted Wood.” The tapestry is only 9 1/2 x 7”, yet the mount makes the piece the largest in the exhibit, perhaps 20 x 20”.  At first, I wondered if there had been a size limitation that this piece might have gone beyond, but if so, I am glad it was allowed in this way anyway. All surfaces of the frame and mount are covered with a neutral white fabric, emphasizing that this is a fiber piece, and making the mount an integral part of the piece. The tapestry is hung within a shape that mirrors the eccentric shape of the tapestry itself. The entire tapestry is woven in a somewhat eccentric manner, with warp showing through, edges curving, holes peeking here and there, and no real apparent plan to the image. Sunday explains that the inspiration was a walk her daughter had taken in an ‘enchanted’ wood that included fairy sightings. I have to say, I believe in fairies, based on this little tapestry. It is a visual surprise and delight! In spite of, or perhaps because of, all the ‘broken technical rules’ in the execution of this tapestry, it is the one that will stay with me long after the exhibit is over.

_MG_0338Rock Garden for Sue Ping 004Continental Shims Tiff to jpegWay up the Mountain_7688 c 1


Hop-hop, 2007; Rock Garden for Sue Ping, 2014; Continental Shims, 2013; Way Up the Mountain, Middle Ground,  2011



Rio Grande Sun, August 21, 2014,  p. 12   

Margaret Sunday’s tapestry pieces, such as “Continental Shims,” are extremely detailed and complex, but are definitely not regular or “perfect” in a traditional sense. [Exhibit Curator, Lise] Poulson comments on two of Sunday’s pieces. “As for “Hop Hop.” I love the idea of landscapes and maps – I could read maps for hours. This piece makes me think of the irregularity of English fields. The textures are varied, but quite subtle. For “Way Up The Mountain-Middle Ground” I love the delicate use of color, and the way most of the piece is ‘impressionistic,’ then your eyes do a little double take at the little areas of well-defined detail. I could contemplate this piece for hours, and not get tired of it.”

click for complete article ↓

Roving Beyond the Edge Story                                   

photo of installation  p. 12