Margaret Abramshe in her St. George studio.

Margaret Abramshe recently attended an artist talk at the St. George Art Museum where Stephanie Leitch discussed her installation Spell Field Two, presented as part of the exhibition Heaven and Earth: Attached by One Pillar. The work repurposes commercially sourced materials, transforming them through careful craftsmanship into something both visually captivating and enigmatic. As Leitch spoke about her process and the conceptual layers embedded in the piece, she acknowledged Eva Hesse as a formative influence—an acknowledgment that immediately resonated with Abramshe.

Abramshe’s relationship to Hesse stretches back decades. Her first encounter came in 1977, as she began her BFA program at the University of Colorado and read Lucy Lippard’s influential book on the artist. Lippard’s opening sentence left a lasting impression:

“Between the fall of 1965 and her death at thirty-four in May 1970, Eva Hesse made some 70 sculptures and many more drawings which have assured her place as a major artist. This is what she wanted.”

“The concise yet powerful summary of Hesse’s prolific and determined career served as a catalyst for my own creative ambitions,” Abramshe says. “She was a woman in the world of art dominated by men.”

Central to Hesse’s influence was her insistence on process. Rather than working with traditional materials, she chose latex, fiberglass, resin, rope, and wire—materials selected not for how long they would last, but for their natural instability and unique reactions. These choices foregrounded uncertainty and change, allowing the materials themselves to participate in the work and emphasizing the unpredictable nature of artmaking.

Hesse also embraced chance and hands-on engagement during creation. By physically interacting with her materials, she made the act of making—and the transformation of materials themselves—central to meaning. That approach left a lasting imprint on Abramshe’s own practice.

“As an artist, my practice centers on the transformation of painting by reimagining its surface through quilting,” Abramshe says. “This approach emerged organically as I sought to connect my background in painting with my newfound passion for textile art and the art quilt movement. My journey represents more than a shift in medium; it is an evolution that bridges the gap between two distinct artistic worlds, allowing me to explore the tactile and expressive qualities of fabric while retaining the sensibilities of a painter.”

Abramshe sees a clear continuum between her current work and the explorations she undertook as a BFA student, when she was deeply inspired by Hesse’s art. Hesse’s prioritization of process and experimentation profoundly shaped her perspective, emphasizing creative exploration over a singular focus on finished results. Equally influential was Hesse’s disregard for rigid conventions and expectations within the established art world.

“I intentionally place process and experimentation at the forefront, striving to honor Eva Hesse’s legacy through a dedication to innovation and authenticity in every piece I create,” Abramshe says. “This commitment is not limited to a single medium or approach; rather, it is reflected in my integration of multiple creative disciplines. My body of work brings together photography, digital compositions, printing, painting, and quilting, resulting in a dynamic interplay of techniques and materials.”

Margaret Abramshe, “Architect”

Over time, this process-driven approach has allowed Abramshe’s work to resist classification within any single discipline, instead existing at the intersection of artistic forms and sustained exploration.

Decades after first encountering Hesse’s work, Abramshe continues to feel the pull of her influence. Hesse’s words remain a touchstone:

“I don’t mind being miles from everybody else. I think the best artists are those who have stood alone and who can be separated from what movements that have been made about them.”

For Abramshe, that idea captures the essence of artistic influence. “That kind of influence doesn’t result in imitation, but in permission—permission to work honestly, to stay open, and to make art that reflects a lived, thoughtful engagement with the world.”

All images courtesy of the artist.

Who Do You Love

During the month of February we ask Utah artists about a specific piece of art or artist, living or not, local or global, that has sparked their curiosity or influenced their work. We run their responses throughout the month.