Shannon Downey, an accomplished embroidery artist, has taken her craft to new heights with the publication of her latest book, “Let’s Move the Needle: An Activism Handbook for Artists, Crafters, Creatives and Makers.” Just out from MIT Press, the book is a blueprint for a new generation of readers and activists looking to subvert systems of power using artistic protest. It poses the critical question: “What’s the next brave thing that I can do?” encouraging individuals to reflect on their roles in advocating for social change.
Downey’s path toward activism began more than 10 years ago. It began in earnest after a traumatic life event turned her world upside down—a shooting near her home that sent a panic-filled bullet through her bedroom window. This experience served as the spark that ignited her craft knowledge as a movement building tool. Initially, Downey approached her art as an individual and internal exploration. She soon discovered that embroidery had the power to bring people together and catalyze real change.
From studio practice to community practice, through workshops and public demonstrations, Downey has taken her personal artistic expression and expanded it into a collective practice. She has stated, “My job is to make sure that you have the best experience ever so that you want to come back again.” It’s this dedication to fostering creativity that makes for more skilled artists individually, but more connected communities collectively.
Along with providing these workshops, Downey has raised thousands of dollars for different causes through her embroidered pieces. For example, one of her largest successes came when she had a sale of embroidered pieces to benefit Chicago-based non-profit Project Fire, raising $5,000. This creative initiative is a great example of how arts can be used to further the needs of community.
Downey’s activism extends beyond fundraising. To express her feelings, she designed an embroidered gun, which deeply connected with her followers and started a movement in its own right. Over 2,000 individuals mailed her their own embroidered guns, symbolizing a collective stand against violence. This project serves as a reminder about the importance of art as protest and artistic expression.
In addition, an embroidery pattern she shared on her website resulted in surprising public participation. One local church community used the pattern to knit and donate a number of hats, eventually making $550 worth of donations to a local food bank. This achievement is a validation of Downey’s dream that creative collaboration can be a powerful engine for change.
“Creating in a time of destruction and chaos, that is resistance in and of itself.” – Shannon Downey
The feelings summarized in Downey’s book are representative of her larger activist philosophy. She emphasizes that “community building alone is not enough to build a movement,” urging readers to take actionable steps toward creating meaningful change. Her observations are agreed upon by like-minded activists who understand that time is of the essence in transforming resentment into positive actions.
Tracy Wright, another leader in the crafting community, reflects on the emotional heaviness found within their work. “There’s a lot of anger and rage in the work that I do, that’s the catalyst,” she explains. She cautions against becoming consumed by that energy: “You can’t live in that energy.”
Michele Lee Bernstein extends this discussion’s scope by calling attention to the sensuality and visual power of making as a public, political protest grounded in craft practices. “A group of knitters calmly knitting was a perfect visual to counter the lie,” she remarks, illustrating how simple acts can challenge prevailing narratives.
Downey’s efforts deeply resonate with a long legacy within the fiber artist community. These artists have as well as to showcase or launch political movements. Her work pushes this legacy forward while updating it to respond to the challenges we’re facing today. As she puts it, “I just started to see this as, like, the greatest community organizing tool that could exist.”
Creating within political action is a concept that has attracted the focus of myriad fields. People are beginning to realize its potential to unite people, despite their various identities. Caroline Larsen reflects on this impact by stating, “While we, as a knitting community, obviously can’t end a war, placing an order on the donation day gave people a way to take action.” And such sentiments ring true with all of us deeply entrenched in creative placemaking movements across the globe.