Theda Sandiford, an acclaimed, self-taught fiber and installation artist hailing from St Croix USVI, is celebrated for her award-winning artist practice.

Drawing inspiration from the profound impact of racial trauma, Theda melds various fibers with an array of found materials through the art of free form weaving, coiling, knotting, and jewelry-making techniques. Her meticulously gathered materials, combined with community contributions, serve as a testament to collective memory, transforming into "social fabric." This intertwines contemporary issues and personal narratives, fostering a rich tapestry of interconnected stories.

At the core of Theda's creative process lies community art-making, a foundational element. She orchestrates multi-disciplinary experiences that unite individuals, sound, and artistry to cultivate a sanctuary for exploring themes of equity and inclusion, sustainability, and personal well-being.

Theda's artistic footprint extends globally, showcased in prestigious venues such as World of Threads, Expo Chicago, Untitled Art Fair, SPRING/BREAK ART SHOW, Governor's Island NYC, New Jersey Arts Annual, and the American Contemporary Craft: National Juried Exhibition. Her work has received acclaim in Excellence in Fibers VI and Fiber VIII from Fiber Art Now, earning her the 2020 Jersey City Arts Visual Artist Award, the 2021 Fellowship in Craft from the New Jersey State Council on the Arts, and the 2022 Jersey City Arts Council Individual Artist Fellowship. She has been named a Fellow for the 2023-24 National of Leaders of Color Fellowship program.

Microaggressions encompass subtle, often unintentional interactions laden with hostile messages directed at historically marginalized groups. These insidious behaviors differ from overt discrimination in that those committing microaggressions are frequently unaware of their actions. When confronted, they may dismiss the issue, attributing it to oversensitivity, perpetuating the cycle of harm—a microaggression in itself.

As a Black individual, I've frequently encountered incidents where people inappropriately touch my hair without consent, reducing me to an object on display. Similarly, I've been lauded for being "articulate," a backhanded compliment that implies a presumption of intellectual incompetence among Black people. These seemingly innocuous encounters, while subtle, carry significant weight, leading to stress, anger, frustration, self-doubt, and a profound sense of powerlessness and invisibility.

In my artistic practice, I employ a blend of freeform weaving, knotting, and wrapping techniques, drawing upon memories, zip ties, vintage neckties, ribbon, yarn, paracord, rope, bottle caps, recycled fishing nets, and even shopping carts. Through repetitive and meditative processes, I seek to initiate dialogues surrounding implicit bias and stereotypes. My work serves as a medium for vanquishing these disempowering impressions, prompting reflection and introspection on the enduring impact of microaggressions in our society.