In the way that people tend to keep things for too long, or save things for later, I make work that is in the language of the renovated: the couch seat cover tailored to match the seat that is never actually used; trim work painted fresh again and again. Somewhere between using things and trying to save them from ourselves, our efforts create a situation where our things outlast us. I find metaphors about person and place inside of this. 

Surfacing forms with found material has become an important part of my vocabulary, whether I am speaking in architecture or in clothing, both holders for time and lived experience. The dents, scars, and physicality of previous ownership speak to the mirror materials become over time. Stabilizing things and holding them in place through solid construction in my building practice is an active metaphor I use to not forget. 

Bio

Christina P. Day’s art practice recontextualizes roles related to material lifespan: designer, fabricator, owner, maintainer. Her improvisational building language stems from textile design strategy and is focused on the conversation of material as content. Her work takes form in architectural installation, surfacing methods, textile pattern logic and match finding. Day is a full-time faculty member of the Fiber Department currently serving as Chair at Maryland Institute College of Art (Baltimore, MD), where her teachings focus on cloth production methods and experimental fashion. Recent exhibitions and research on material history have been completed at PHL International Airport (Philadelphia, PA), Catskill Art Space (Livingston Manor, NY), AUTOMAT (Philadelphia, PA), Fleisher Art Memorial (Philadelphia, PA), Commonweal Gallery (Philadelphia, PA), Hagley Museum and Library (Wilmington, DE) and Kirkcaldy Museum (Kirkcaldy, Scotland). She maintains her home and studio in Philadelphia, PA.  

For inquiries regarding work and projects, please contact: chrissy@chrissyday.com

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2026