We were lucky to catch up with Sienna Martz recently and have shared our conversation below.

Alright, Sienna thanks for taking the time to share your stories and insights with us today. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?

I initially trained at the Tyler School of Art and Architecture in Philadelphia, where I earned my BFA in Sculpture and Fiber Arts. That experience was hugely impactful in shaping my understanding of traditional textile techniques and how to build dimensional forms with fiber. It gave me a strong technical and conceptual foundation that I still draw from today.

At the same time, one of the most exciting aspects of fiber art is how open the field is to experimentation. Many of my methods have evolved through self-directed exploration and problem-solving in the studio. The global community of fiber artists, particularly through digital platforms, has also played a significant role in informing my practice. Seeing how other artists approach materials and form has continually expanded my sense of what is possible with fiber.

Looking back, one thing I wish I had understood earlier is the importance of material sourcing and the environmental impacts tied to different materials and production systems. It took me years to fully recognize the connection between the materials I was using and the larger ecological implications behind them. If I could go back, I would have spent more time researching sustainable sourcing from the beginning and building that awareness into my practice earlier on.

In terms of essential skills, adaptability and curiosity have been the most important. I think it’s crucial for artists not to become stuck repeating the same cycle of making. Pushing the boundaries of one’s practice—experimenting with new materials, techniques, and ideas—keeps the work evolving and opens the door to new forms of creative expression.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I’m a sculptor working primarily with fiber, creating tactile wall sculptures and large-scale installations that explore the relationship between nature, material, and human impact on the environment. My work transforms plant-based fibers, recycled textiles, and other reclaimed materials into organic sculptural forms that feel both natural and otherworldly. Through these pieces, I’m interested in how softness, repetition, and accumulation can create a powerful spatial presence while also encouraging viewers to slow down and engage more deeply with material.

A defining aspect of my practice is my commitment to ethical and sustainable materials. As a vegan artist, I work exclusively with plant-based fibers and reclaimed textiles, often sourcing materials from secondhand clothing and textile waste streams. This approach allows the materials themselves to carry a history while also reducing environmental impact. Sustainability isn’t just a conceptual theme in my work, it’s embedded in every stage of the making process.

My sculptures have been exhibited internationally in galleries and museums in cities such as Seoul, Rome, New York, Chicago, Miami, Berlin, and Los Angeles, and they now live in private and public collections around the world. I also create commissioned works for collectors, designers, hospitality spaces, and cultural institutions, adapting the scale, palette, and form of the sculptures to respond to specific environments.

What I hope my work offers, both to collectors and viewers, is an alternative way of thinking about sculpture and materials. Fiber has historically been associated with domestic craft, but I’m interested in expanding its possibilities into immersive, dimensional forms that challenge those expectations. The pieces invite a slower, more contemplative engagement with art and with the materials that surround us every day.

What I’m most proud of is being able to build a practice that aligns with my values. My goal has always been to show that contemporary art can be innovative, tactile, and visually powerful while still being ethically and environmentally conscious. I hope my work not only creates beauty and curiosity, but also encourages people to think more deeply about the materials we use and our relationship with the natural world.

For you, what’s the most rewarding aspect of being a creative?

For me, the most rewarding aspect of being an artist is the ability to create something simply from a thought. It often begins as a small spark of an idea in my mind, an abstract form, a feeling, or a material possibility, and through the process of making that idea slowly comes into physical existence. There is something incredibly meaningful about watching a concept transform into an object that can exist in the world and be experienced by others.

It is also deeply rewarding to know that my work lives in collections around the world. The idea that something I created in my studio can travel far beyond me and become part of someone else’s environment or daily life is something I never take for granted. Those connections create a sense that the work continues to grow and evolve even after it leaves my hands.

Another aspect that feels important to me is being part of the long legacy of fiber arts as a space for activism and advocacy. Fiber has historically been a powerful medium for storytelling, protest, and social dialogue. Through my own practice, particularly through my focus on sustainable materials, I hope to contribute to ongoing conversations about environmental responsibility and our relationship to the materials we use. If the work can open up dialogue within both the art world and the broader public, that feels incredibly meaningful.

We’d love to hear a story of resilience from your journey.

There’s often a misconception that many successful artists reach this point with extraordinary financial privileges. While I’ve been fortunate to have the support of family and friends, and the opportunity to attend art school, the reality is that building my practice took years of quiet persistence.

For a long time, I balanced full-time and part-time jobs while making art in the early mornings, late evenings, and whenever I could carve out the time. It took years before I sold my first piece, and many more before my work began generating a sustainable income. During that period, my family and I lived very modestly, relying on food stamps, visits to food banks, and other forms of government assistance. It was never easy, but I never stopped making art.

Rejection was constant, with opportunities, exhibitions, and grants often not coming through. But I learned to keep moving forward, trusting in the process and in my own commitment to the work. Even now, as a full-time artist, that same resilience continues to shape my practice. Pursuing a creative life demands persistence, belief in one’s work, and the courage to keep going even when the path is uncertain.

Contact Info:

• Website: https://www.siennamartz.com/
• Instagram: https://www.instagram.com/siennamartz.art/

Image Credits

Joy Masi – Soapbox Arts – Kingston Design Connection