I Cry at the Joyous Parts and I Cry at the Sad Parts

By Merill Comeau


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This work was created as part of the Fuller Craft Museum’s exhibition Human Impact: Stories of the Opioid Epidemic and optimistically represents that the hard climb of treatment results the reward of regained health. The ballgown at the bottom represents the seductive drug, the overalls the hard work required to heal, and the bikini the baring of yourself in all your naked glory representing the honest self-assessment and self-acceptance needed in the treatment process. The patchwork surrounding the garments rises from black and white to vivid color reflecting the process by which people gain back their senses of pleasure as they progress through treatment.

Fiber/Decorative, Mixed Media (Textile collage: garments, painted and printed repurposed fabrics, composted toile, commercial fabrics, sequins, hand and machine stitching)

48 x 30 x 214 inches

About the artist

Merill Comeau has participated in over 80 exhibitions including at Fuller Craft Museum, Danforth Art Museum, Fitchburg Art Museum, Attleboro Art Museum, Museums of Old York, and the Edward M. Kennedy Institute of Boston. The Institute of Contemporary Art Boston’s Art Lab hosted her interactive project Threads of Connection in 2020. Her residency highlights include Southern New Hampshire University, Hambidge Center for Art and Science, the National Parks of Cotoctin Mountain and Acadia, and Weir Farm National Historic Site in CT. Publications showcasing her work include Surface Design Journal, TextileArtist.org, Fiber Art Now, MutualArt.com, and The Boston Globe. She has been a guest speaker at academic institutions including Arnold Arboretum of Harvard University, Simmons College, Stonehill College, Dana Hall School, and Phillips Exeter Academy. In addition to her studio practice, Comeau executed over 30 public projects and is a teaching artist for youth 15-22 years of age residing in secure treatment centers in Massachusetts. ...Read MoreRead Less

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