Hooked Rug c. 1936

Curator: Good morning! Today, we're looking at Lillian M. Mosseller's "Hooked Rug" from around 1936. She used watercolor to create this study. What strikes you initially? Editor: It's quite delicate. The pastel colors and flowing forms give it a dreamlike, almost ethereal quality. It feels very ornamental. Curator: Exactly. Mosseller was exploring the visual possibilities within what's often seen as a functional object. Rug hooking, typically considered a craft done by women, gained popularity for its utility and accessible materials, such as fabric scraps. Editor: The artist uses watercolor to mimic the texture and density of a rug, playing with different hues within the overall pastel scheme. This allows light to filter in such a way as to perceive relief and structure, where little actually exists. Curator: Right, there's a tension here. It looks handmade, which ties into its crafting roots. Hooked rugs offered a creative outlet for many women in the early 20th century, who found innovative ways to use recycled and repurposed materials, like old clothing, in practical yet artistic designs. Editor: Yet the formality of the central floral design, balanced by the more elaborate framing details, feels intentional, and maybe slightly disconnected from those homespun origins. Curator: True, that duality is compelling. The work points to a specific type of making—the kind born from necessity—but also the desire to embellish and find beauty in everyday life. We are seeing these items repurposed as decoration. Editor: A demonstration of utility and artistry blended into a single design. Thanks for pointing that out. Curator: My pleasure. Considering its creation, the material accessibility that Mosseller's art exemplifies makes it all the more fascinating to me.