Is there a central theme in your practice?
Yes, there is a central theme. My practice is a recollection of my personal history and the materials that inform my artistic language. The significance of textile and tactile materials is deeply rooted in my childhood, where the practice of sewing and crocheting became part of my story. My Salvadoran mothers devotion to this skill characterized our home life, forming cherished memories: “Every day was the same… I would come home from school, and my mother would be working on the floor with her hands surrounded by all sorts of materials. Often I work the same way which gives me a sense of home and comfort.” My work is informed by my bicultural upbringing and the complexities surrounding hidden identity. My mother’s individuality frequently went unnoticed in her pursuit of “americanization”, a reality that has left an indelible impact on my way of thinking and profoundly influenced my perspective. My work gives my mother her voice and at the same time connects me to my cultural history.
Deborah Lynn Irmas in her studio.
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Can you tell us about a source(s) of inspiration?
I am inspired by formalism in art, emphasizing the visual and structural elements of a work, most often shape, color and texture. My background in fashion illustration, graphic design, and textile design have all been the catalyst in my art practice. I have a distinct color palette which I rarely veer from. I often favor bright colors which have a history in Salvadoran art. Central to this palette is the color pink—a persistent motif that resonates with my personal identity. Using a humbly made crocheted stitch, yarn informs my work and is a common tactile material in my work. I am also inspired by the seductiveness of creativity in its intuitive and Instinctual nature, allowing the artist to be completely and unconditionally genuine.
Self Portrait No. 2 (…and the skies are blue), 2025. Acrylic, paint marker, wallpaper, wood panel, 17 x 23 in.
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What are you working on these days?
Recently, I started a new series of self-portraits that incorporate new and vintage wallpaper, paint markers, acrylic paint, and collage on wood panels. This new body of work continues to be informed by yarn and continues with my family narrative but now moves towards an exploration of my own identity. Pink and the assorted bright color palette carries on as with my previous yarn works, evolving into whimsical, playful and at times exhibiting formal theatrical attributes. These joyful self portraits celebrate my own individualism and my sensitivity towards self-expressiveness.
Scalloped Yarn Configuration, 2023. Yarn, pushpins, 24 x 37 in.
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What are some of the biggest challenges you face as an artist?
There are numerous challenges as an artist. Several are related to the technical aspects of art. Issues such as assembling large works or selecting the appropriate adhesive call for planning and experimentation. The multitude of choices necessitates studies to consider what would be most effective. Other challenges include finding curators with my same sensibilities for studio visits, tempering impulsiveness, listening to my intuition without judgement from myself or others and most importantly working from a place that’s authentic. Lastly, the competitive landscape of Los Angeles presents significant obstacles. It seems that in today’s art world the artist has to be both an artist and a business person at the same time. These are skills, at least for me, that work against each other and can be quite challenging. But what I believe is most important is to separate the art world from the art and stay true to your vision regardless of art world pressure.
Respectable Burden of Silence, 2023. Yarn, faux leather, fabric, velvet, cord, fringe, canvas, 84 x 109 in.
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What did you work on in your last residency?
During my last residency, I immersed myself in yarn, crochet and fabric, culminating in a series titled “Respectable Burden of Silence.” This work sought to highlight my mother’s struggles, chronicling her immigration from El Salvador to the United States and the challenges of her concealed identity, which was shaped by societal bigotry. In honor of her resilience, I purposely used large canvases to give her the respect she had been denied. Each canvas is embellished with yarn, crochet work, vintage fabrics, chains, cords, and ropes—materials that reflect my mother’s lively and somewhat eccentric spirit. The backgrounds of these canvases are deliberately composed of two contrasting colors, serving to underscore the complexity of my bicultural narrative.
What is something you would like the community to know about you?
I would like the community to know that I consider myself fortunate to cultivate a connection with my inner self through this practice. Although, the creative process can foster a meditative and introspective lifestyle, it can also cultivate self doubt and frustration. There is a vulnerability in revealing your narrative and this exposes you to others judgement. It is a daily commitment… not something picked up periodically and infrequently. My hope is that the viewer can engage with the artist’s vision and take the time to contemplate the artist’s voice and unique imagination.
Self Portrait No. 3 (My pink life), 2025. Acrylic, paint marker, wallpaper, wood panel, 18 x 24 in.
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