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Work Samples

Irene I

Acrylic, graphite, Contact paper on wood panel, 16 x 16 inches, 2019

Months 1, 3, 6, 9, 12

Months 1, 3, 6, 9, 12


Digitally illustrated poster, 12 x 16 inches, 2019


About Chloe

Carroll County

Chloe Irla's picture
Chloe Irla grew up outside of Richmond, VA but moved around a lot as a teenager. She attended McDaniel College before receiving an MFA from the Mount Royal School of Art at the Maryland Institute College of Art. She has exhibited nationally and in Sofia, Bulgaria. Chloe has been a resident artist at the Vermont Studio Center and the Wassaic Project. As an educator, she has taught studio art courses at MICA and the University of Maine at Farmington and is currently an Assistant Professor of... more

Irene on Fridays

Irene on Fridays is an in-progress series of paintings based on a photograph of myself and my late grandmother. More to come...

  • Irene I

    Acrylic, graphite, Contact paper on wood panel, 16 x 16 inches, 2019
  • Irene II

    Acrylic, Contact paper, grip tape on wood panel, 16 x 16 inches, 2019
  • Irene III

    Acrylic, Contact paper on wood panel, 16 x 16 inches, 2019
  • Irene IV

    Acrylic, graphite, Contact paper on wood panel, 16 x 16 inches, 2019
  • Irene V

    Acrylic, graphite, Contact paper on wood panel, 8 x 10 inches, 2019
  • Irene VIII

    Tempura, acrylic, Contact paper, grip tape, graphite on wood panel, 24 x 24 inches, 2019
  • Irene IX

    Tempura and acrylic on wood panel, 20 x 30 inches, 2019

Year One

From January 18, 2015 to January 18, 2016, I collected data about my daughter's first year of life and created digital, timeline-like drawings about her daily schedule. I tracked the times of each nursing session, pumping session, nightly sleep and morning wake-up, daytime nap, diaper, bath, bottle, and solid food acceptance. I began the project with hand-dyeing samples of wool, scanning the samples and adjusting them into digital files, and then arranging the “tiles” into blanket-like digital compositions.


This project began in the summer of 2016 when I visited over a dozen local snowball stands in Baltimore including Walther Gardens (the oldest snowball stand in the country!), One Sweet Moment, Elizabeth & Ziggy’s, Sensational Snowballs, and Summer Delights. I documented the architecture of each snowball stand in the early morning before the stand opened for the day. I then returned to the stand to order what I considered the most unique snowball flavor on the menu and photographed the snowball. I illustrated a map of the locations of each stand and assembled the photographs and map into a small zine (booklet). Each stand has its pros and cons: for example, Elizabeth & Ziggy's has the best ice, but Sensational Snowballs has the best marshmallow. I highlight these traits in posters I’ve been designing since that first summer doing research. My goal with this project is to establish Snowballtimore as an authority and archive for this summer Baltimore tradition and to publicly “certify” city snowball stands as being recognized by this project. ​ The news in Baltimore is often bleak, especially in the summer when crime rates seem to rise. I hope to promote this positive, community-engaged practice of going to an independently owned, small business establishment and spending time bonding with community members while cooling off with sugary, shaved ice and gooey marshmallow in a styrofoam cup. ​

Pizza Party Twister

Pizza Party Twister occurred during the Field Day exhibition at Artscape 2014 in Baltimore, MD and has also been included in the group exhibition, "Subversive Play: Artists Challenging Mechanisms of Control," at Structura Gallery in Sofia, Bulgaria.

The official Twister rules state that Twister is “the perfect fun starter for every party.” I agree with this statement but believe that playing Twister on a giant, delicious looking pizza is a more effective way of beginning what one hopes will be a fun, friendly gathering.

The object of the game is simple: to outmaneuver all other opponents in placing one’s hands and feet on different types of pizza toppings (mushrooms, pepperoni, basil, and olives) as directed by the spinner. Players may participate as individuals or as teams. If one person on a team falls or touches an elbow or a knee to the pizza surface, the entire team loses–this is serious pizza stuff. The referee will use a spinner to determine on which topping participants should place their hands or feet. Players must remove their shoes to participate. Whenever one player falls or allows an elbow or knee to touch the pizza, that player is out and the game continues until only one participant stands victorious. The winner is awarded a handmade ceramic golden pizza slice and is dubbed a Pizza Twisting Legend.

The set­-up of the game includes a large circular vinyl mat resembling a pizza that rests on top of Astroturf carpeting to give the game an authentic backyard feel. This is also known as the Pizzarena. Signage includes information about the game’s schedule.

Pizza Party Twister is a means of bringing out the competitive spirit of participants, allowing one to flex their yoga and Pilates muscles while simultaneously inducing the urge to satisfy a craving for hot, delicious pizza.

The Hunter and the Hunted: Made to Measure

This chapter of my Blaze Breakers series began with an exploration of the semiotics of hunting textiles, particularly camouflage patterns. The somewhat moronic juxtaposition of invisibility (camouflage) and visibility (blaze orange) within hunting textiles is fascinating to me: the hunter must wear blaze orange to communicate their presence to other hunters (I’m not a bear.), yet also wear camouflage as a cloaking device to blend in with their surrounding landscape. “The hunter” and “the hunted” in these works can be interpreted metaphorically to communicate general themes such as in/visibility, dis/appearance, and honesty: camouflage is an illusion, a visible lie, so is blaze orange truthful?

The Hunter and The Hunted: Made to Measure presents a lexicon of essential elements and principles that establish the foundation of The Hunter and The Hunted series. The elements and principles of The Hunter and The Hunted are light, warmth, surface, measurement, visibility, organization, transformation, honesty, history, and time. Most of the projects included in the exhibition at McDaniel College were created specifically for the Rice Gallery and are grounded in both institutional and personal memories: I was a McDaniel College student from 2005–2007 and am currently a full-time faculty member. The space that is now the Rice Gallery served as the College’s library from 1909–1961, and for the duration of this exhibition, serves as a library for this body of work. I felt it important to present the building blocks of The Hunter and The Hunted series in an academic setting instilled with its own foundational elements: the seven liberal arts.

  • HH: Light

    Installation view at McDaniel College, September 2018. The exhibition included a site-specific installation in the gallery windows made from Contact paper and cellophane.
  • Lies Above / Lies Hier

    The placement of this work in the gallery references the stained glass window ceiling above. The ceiling is a replica of the original stained glass piece, which currently lives in Hoover Library’s Board Room. “Lies hier” in German, a language I studied for 5 years, translates to “Read here,” a reference to the Rice Gallery’s past use as the College’s library.
  • Cascading Warmth

    Cascading Warmth Mylar blankets 84 x 56 inches 2018
  • HH: Outfitter

    HH: Outfitter Canvas, embroidery, fishing lures 60 x 28 inches 2018
  • HH: Revelation

    HH: Revelation Bleach on denim, cotton fringe, dyed canvas 2018
  • HH: Topography

    HH: Topography Wool, steel wool, chicken wire, birch wood, Astroturf, yarn 2018
  • HH: Storage

    Sewn canvas with grommets, 2018
  • HH: Trophy Quilt

    HH: Trophy Quilt Quilt composed of sewn camoflage and blaze orange hunting textile panels. 17 x 6 ft 2018

Made to Measure: Zines and Multiples

Zines, posters, and lenticular prints that are a part of The Hunter and the Hunted: Made to Measure series.

More of The Hunter and the Hunted

The Hunter and the Hunted focuses on the semiotics of textiles, particularly camouflage patterns and faux fur textures. I am interested in how these textiles communicate time and place, such as snowy winter time in the forest or autumn amongst the wetlands. Faux fur is so far removed from nature, often produced from manmade methods and materials yet mimicking the trophies of what were once living creatures. The juxtaposition of in/visibility within hunting textiles is fascinating to me: the hunter must wear this gaudy, blaze orange color to communicate his/her presence to other hunters yet also wear camouflage to blend in with his/her surrounding landscape.

Blaze Breakers

My current work is rooted in a years-long investigation of the color blaze orange in the context of rural and urban space and place. I was first introduced to this color while residing in Maine, where residents of the small town that I lived in were advised to wear blaze orange vests when spending time outdoors during the hunting seasons. Historically, guides in Maine suggested that hunters adopt this gaudy color as a “safeguard against the ignoramus.” I am interested in blaze orange as a warning sign and as a symbol of safety amidst danger: its visibility suggests that one be cautious of their surroundings. What happens if this color fails to communicate its message?

Blaze Breakers is an ongoing, multimedia project that utilizes analog and digital processes to distort, degrade, and destroy the color blaze orange. Four years ago I scanned a blaze orange bandana for use in a book I was producing about hunting textiles called Under Cover. The scanner’s software could not fully process the bright orange color and inserted glitchy green artifacts into the image. The technology could not represent the color accurately and my obsession with “breaking” blaze orange was born. Textile manipulation, digital image capturing, Instagram filtering and compression, traditional 35mm film processes, and projection methods are some of the technical approaches used in this continued investigation. I am interested in presenting the viewer with the artifacts of this once bright, purposeful color. The technical means to destroy the color produce new translations of what once were vibrant, urgent messages.

  • Blaze Breakers Installation

    Installation view at McDaniel College.
  • Nap Time on a Sunny Summer Day

    Nap Time on a Sunny Summer Day. Twenty-four, 35mm photographs with digital composite on HD monitor. Nap Time on a Sunny Summer Day consists of twenty-four 35mm photographs taken of blaze orange textiles placed outside at noon on a sunny, cloudless day. I was curious how and if the film in my disposable camera would translate the bright color and upon the film’s development, was pleased to see the creation of new colors and the insertion of artifacts from glitches in the processing.
  • Canine Shibori

    Canine Shibori. Canine Shibori is a sign-like, sculptural work with four blaze orange textiles stretched over panels. I employed my dog, Louie, to wear each bandana for a specific amount of time rougly ranging from one month to six months. The longer he wore the bandana, the more degraded the orange became. I am interested in the grid patterning that formed from the folds and creases caused by the bandana being tied around Louie’s neck. The longer he wore the garment, the more prominent the grid became.
  • @blaze_breakers

    @blaze_breakers is an ongoing Instagram-based project that began with an image of a scanned blaze orange bandana. I apply the Clarendon filter to each processed photo and have witnessed the degradation of the original file over 500 times. My hope is that with each subsequent upload and filter application, the file will become more and more corrupted and eventually produce a new palette of colors and patterning.
  • Sketch

  • Sketch

  • HH: Cookery

    A blaze orange bandana was boiled in water for one-hour increments. After each hour, a canvas was dyed using the extracted pigment from the bandana. It took 10 hours of boiling to completely extract the bandana’s pigment.
  • Blaze Broken by Boiling, 2017

    Blaze Broken by Boiling Stretched textiles 12 x 12 inches and 15 x 24 inches 2017

Fiber Archive

An ongoing body of work beginning in 2012.

  • C-pond

    Wool and mixed media on panel, 13 x 16 inches
  • Topia

    Wool, acrylic and mixed media on panel, 12 x 12 inches
  • Lore

    Wool, acrylic, and mixed media on panel, 14 x 16 inches
  • February

    Acrylic and mixed media on panel, 12 x 12 inches
  • 85 Yards

    85 yards of duct tape on canvas, 2018.
  • Inaugural Winter

    Hand-dyed and needle felted wool; 84 x 70 inches. Inaugural Winter: Selected Sunrise/Sunset Times, Nov.-March 2013 is a hand-sewn, needle-felted wool blanket that is a graph of data I collected on a blog ( throughout the season that tracked the time I noticed darkness, the color of the sky, and the outside temperature at that time. The length of each bar represents the amount of darkness during that particular day, with the shortest day having only about 8-9 hours of daylight in a 24-hour period.
  • Downtime Rivers: 6 Weeks Until Spring

    Hand-knit yarns; wooden dowel; 84 x 36 x 5 inches Downtime Rivers: 6 Weeks Until Spring is a project that began on Groundhog Day when Punxsutawney Phil predicted an early spring. Each river was knitted over a weeklong period during any downtime I had between teaching, grading, etc. The longer the river, the more cooped up I was during that week.
  • Myth

    Hand and needle-felted sheep and alpaca wool; Wire; Contact paper on cardboard; 45 x 13 x 42 inches
  • Idyllic Landscape Unit

    Painted, sewn, and stuffed canvas; AstroTurf; photographic print on vinyl; hand-knit wool yarn; 60 x 90 x 65 inches

Connect with Chloe

Chloe's Curated Collection

This artist has not yet created a curated collection.