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About Chloe

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 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, McDaniel College and the University of Maine at Farmington. Chloe currently lives in Baltimore, MD with her... more

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


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.

Paintings & Textiles

An ongoing body of work combining textile manipulation with traditional painting. I am inspired by the landscape and vernacular of rural communities, particularly the use of hunting textiles in everyday life.

  • Blaze I

    Wool, felt, 20 x 24 inches
  • Emblue

    Wool, 20 x 24 inches
  • Huntingdon

    Textile, acrylic on panel, 18 x 14 inches
  • Canine Shibori

    Textile, wool on panel, 12 x 12 inches
  • 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

Made in Maine

Work created while living in Farmington, ME, a rural community in central, western Maine.

  • Mountain Room

    Acrylic and gouache on panel; 10 x 10 inches
  • Blaze Houses

    Acrylic and gouache on panel; 9 x 12 inches
  • Idyllic Landscape Unit

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

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

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

Wool Landscapes

One of Farmington, Maine's earliest industries was the production of wool, and now that winter has arrived, I find myself relying on this material in my everyday life more than I ever had before living here. My goal with this series is to depict the atmospheric quality of this wintery landscape through materials that have significance to Farmington and are also essential to winter survival. Each piece is created by needle-felting alpaca and sheep's wool onto wool roving stretched over a wooden frame. The piece is then photographed and printed on waterproof vinyl.

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Chloe's Curated Collection

This artist has not yet created a curated collection.