BLACKLANDS celebrates art in the color black, created and curated by Zakarian.
This interview series directs the spotlight at fascinating artists working with the darkest shades.
Painting The Body Distorted : Jérôme “Trëz” Oudot
14 September 2026Artist Interview
Lisa Kirk
An Ode To Arachne In Fine Embroidery
Interview by Mariam Zakarian, October 2026
This month I am introducing a medium that is new to the BLACKLANDS project: embroidery.
The art of decorating fabric using needles to stitch thread or yarn is one of the oldest forms of needlework across cultures, dating back thousands of years. Embroidery has traditionally been a woman’s craft, mainly used for the decoration of garments and other items. Consequently, it has largely been ignored and excluded from fine art history by the dominant, Western perspectives. But in the latter half of the past century, embroidery and textile art have slowly become commonplace in established art institutions, notably via the rediscovery and championing of the medium by feminist artists, in an effort to give crafts traditionally mastered by women the respect they deserve.
Today, with the increased digitalization of our lives, more and more people are picking up offline crafts in a growing counter-culture, and accordingly, there is now a huge number of artists using embroidery as their chosen form of artistic expression.
Keep this in mind, dear reader, as I present this month’s artist, because embroidery so often gets dismissed as “not real art”. Lisa Kirk, going under the pseudonym Lucifersthelight, is a young, exciting creator from Southern Bavaria, whose works have achieved a remarkable level of polish and sophistication, and an irresistible, dreamy expression that will instantly attract those of us who enjoy dark aesthetics. Well known music artists have also begun commissioning her embroidered works; most recently she contributed to album artwork for Faroese singer-songwriter Eivør.
Detail from album art embroidery for Eivør “Tungl”, 2026.
Design by Kinnat Sóley (aka. Merchbabe).
Embroidery, metallic thread on 100% black cotton by Lisa Kirk.
Although Kirk has studied Media Technology, her parallel exploration of embroidery and fiber art gradually developed into a unique body of work, most prominently characterized by lavishly framed spiderwebs embroidered with metallic thread.
The lovely parallel of spiders weaving webs and human hands creating embroidery, with the spiderweb as a motif no less, is almost too satisfying a thought. One instantly recalls the story of Arachne from Greek Mythology, the master weaver who was turned into a spider by the gods for daring to be proud of her own talent.
Kirk’s handcrafted and meticulously detailed webs are so lifelike in their asymmetry, stunning emulation of organic flow and elegant imperfections. The way the metal catches the light, and the unique texture of the needlework really evoke a tactile sensation. These pieces must be wonderful to touch!
The artist writes that she is self-taught, and that the interest developed naturally, as she always had access to a sewing machine in her home thanks to her grandmother who was a crafts teacher, and her mother, who used to sew her childhood costumes. Kirk was used to altering her own clothes, began basic cross-stitching in 2015, and later found hand-embroidery.
Explaining that she finds inspiration in anything from “a flower in a garden” to “a single sentence in a book”, she likens these ideas to seeds, which grow in her mind over time, nurtured unconsciously, and finally pop open in her head. Sketching happens fast, digitally, in very simple, geometric shapes marking the outlines of a composition in the app Procreate, and the works are then developed directly on the fabric with needle and thread. “Believe it or not, I can’t draw,” she writes, but some of the embroidered pieces need references of historical paintings in the process, and for her series of witches, she uses self-portrait photos.
While most artists create works, then find frames for them afterwards, Kirk does the opposite for her spiderwebs. Every web starts with finding an antique or vintage frame, which then influences the composition of the spiderweb, thereby creating an entirely new, cohesive object out of fusing the old and the new. She describes the delight of stumbling upon treasures in what she calls “feral antique shops” in the countryside as “an answered prayer”. Understandable, when you see the way the entrancing spiderwebs shimmer alongside the metallic finish on gorgeous, opulent frames. These pieces look like they belong in night gardens, beside real gossamer and nocturnal flora and fauna, illuminated by moonlight, but unlike real spiderwebs, the metal thread makes them almost eternal.
“I develop my spiderwebs spontaneously on the fabric itself,“ says Kirk. “I feel it’s important for me to claim that technique and material combination as my original art.” While I have been unable to verify whether this indeed was the first instance of an artist embroidering metallic webs, the quality of Kirk’s works set them apart from the many others on social media who create metallic spiderwebs with more or less successful results. It is not an easy thing to make something as deceptively simple as a spiderweb look mesmerizingly realistic in two dimensions, but Kirk achieves this thanks to her understanding of form and movement in the organic shapes of the webs, and particularly by embroidering in her specific style, using longer and shorter stitches over each other to create shapes, never forming a clean line.
“Creating a fully covered area with my thin sewing thread is very time-consuming and I absolutely don’t like a clean texture. Working with chaotic stitches to form light and shadow is what works best for me. It gives the finished design a scribbly look,” she reveals. The result is exquisite embroidery shimmering with dark allure.
Enjoy the precious needlework and the insightful interview below.
"My spiderweb frames are mostly about preserving.
Finding an unused, unloved antique frame [...] Making it the home of an imaginary spider.
Filling it with a thread-made spiderweb, unlike a real spiderweb that rips by the slightest touch. "
- Lisa Kirk
Q: Are there particular themes in your work that you keep returning to?
Lisa Kirk: The biggest commonness is asymmetry. Other themes are winged creatures, thorns, crosses and most obviously spiderwebs. All of this is pretty Catholic-coded but can be twisted into darker and mystic stories. The spiderwebs are just an endless motif that can look totally different every single time. Let’s see if I ever get bored of it! The spiderwebs also brought the metallic thread which I am exploring as another element in my regular design work right now.
It started with trying to create spiderweb jewelry for myself, which developed into getting more realistic and precise and imperfect, just as the real deal outside my window. Being into goth/alternative/punk culture, this motif is everywhere, but if you pay attention, they are almost always physically wrong. They are so often comical and gravitate towards the center in a symmetric way. And nature’s webs are so beautiful and different, not a single one is like the other. So many depictions of spiderwebs out there don’t pay attention to that, which of course is not at all a must. But I do pay attention very closely and just want to imitate nature.
Q: Does your work arise intellectually or intuitively? Do you work from a philosophy or artist statement?
My embroidery work and design is created very intuitively, inside my own limited aesthetics. My instinct leads me back to the same symbols, figures and forms at the end of every creative process. I think it is because this aesthetic feels home for me now. Where the inspiration came from is something I often only realise while looking at the finished design, then I understand my train of thought and know the story behind those symbols, figures and forms. But in between it’s just an undefined flow!
My spiderweb frames are mostly about preserving. Finding an unused, unloved antique frame – the owner is selling it so the frame lost its purpose to them. Making it the home of an imaginary spider. Filling it with a thread-made spiderweb, unlike a real spiderweb that rips by the slightest touch. That combined with a metal frame that already survived 50-100 years, together surviving another 100, hopefully. A long thought, but that is what I like to think the purpose of my webs is.
"I do pay attention very closely and just want to imitate nature."
- Lisa Kirk
Q: Tell us about your main influences, please?
Any kind of spirituality – from Catholicism to Witchcraft to New Age. Every belief system is the same in its core, it’s always about how to become the best version of yourself. Combine that with unusual and creepy stories and you got what drives my creativity. Visiting spiritual places, exploring different cultures, learning what meaning an object or symbol has to others, is what stimulates me the most. I am never leaving my own aesthetic world, but seeing the same world through different eyes is my key to creativity. I have many ideas while traveling. I usually travel by myself, which is the most relaxing time I ever have. That is where a lot of new seeds are planted and old ones start to grow!
Visually I am drawn to Spiritualism, Aleister Crowley, Augustus O. Spare, the Crowley-Harris tarot, Surrealism, Alchemy, browsing through 1980s spiritual magazines, voodoo sigils, Catholic instruments of penance, Art Nouveau, specifically pewter objects, browsing runway looks… This world has so much to offer.
"Art is anything that comes from your true self."
- Lisa Kirk
Q: Are there inspirations from your childhood or adolescence which still carry over to your work today?
Most definitely Catholicism. I grew up in rural Bavaria, with parts of my family being very Catholic. Even if I am not Catholic anymore, the spiritual components really stuck with me.
What I remember most is our gloomy, baroque church, full of ex-votos displayed in huge, golden, Baroque frames. The back of the church had a backroom “tomb” where a life-sized Jesus statue was laid to rest. There was only a tiny hole in the wall as an entrance, adults had to duck underneath – that creepy side any religion has, as I was mentioning earlier.
As a kid I always visited the decorated catacomb saint in the right wing of the church. My homegirl St. Theodora. My grandma was telling me about sacred wonders, she had “The Passion of the Christ” on VHS cassette. Spirituality makes us give symbols and objects a meaning. This is what Catholicism taught me and what is the root of my work. Jesus died for me and I am eating his body during Sunday mass? Okay fine, what other wonders are there in this world? “Something” is out there, and that thought helps a lot of people. Doesn’t really matter what you call it.
Q: In your pseudonym Lucifersthelight, you use the name of a character who has been controversial for two centuries. What does Lucifer mean to you and how does this character relate to your art?
When I hear the name Lucifer, I don’t think about a horned devil, some red demon, or Satan. Lucifer for me is the fallen angel, the Morning Star coming down to Earth. It’s the state in-between being an angel and becoming Satan. I am sure most of you have seen the illustration of Lucifer falling onto Earth by Gustave Doré; an innocent, winged person falling through the night sky with stars surrounding them. When art depicts “Lucifer” rather than “The Devil” or “Satan” it is always softer, human shaped. My art fits that theme of being visually soft but having a gloomy backstory.
Of course this is just my interpretation and I know a lot of people out there reading that name have darker thoughts. I have gotten some hateful online messages by Christians before, about me mixing the name “Lucifer” with Catholic-themed art, or instantly labeling me as a practicing Satanist. I have been told to stay out of churches if I can’t respect the religion. My intention is not to make fun of Catholic beliefs, but I don’t see any reason to not use the religion I grew up with in my own way.
Q: Do you create in silence or listen to something?
Always headphones on, listening to anything from Ambient or soundtracks, to my favorite 5 albums, sometimes a podcast. The albums I listen to most often while working are all of the Silent Hill soundtracks, Bowery Electric ‘Beat’, Christian Death ‘Only Theatre of Pain’ and Paysage d’Hiver ‘Geister’.
I am a creature of habit and I find comfort in repetition. I will listen to one song only for a week straight, if that song scratches that one itch in my brain. Annoying, I know, but I live alone!
Weirdly enough I don’t really think audio is a source of my creations, it’s just part of the process. Music in general is a big part of my life, as I am also active in my local scene, on the organisational side (check out VOID Fest). I envy every person who is able to create music. I have also been involved in some music-related projects with my embroidery. Fellow artist Merchbabe asked me to collaborate on her design work for Icelandic musician Eivør. The design was made by Merchbabe alone, and the photography of my embroidery was included on the album cover. I love when digital and analogue art meet.
Q: Do you have a favorite spider-related source of inspiration?
Too many again! But the first that pops into my mind, always, is the anime “Wicked City”.
It has seductive spider demons and ends in a church!
"Spirituality makes us give symbols and objects a meaning."
- Lisa Kirk
Q: Why do you choose to use black in your work?
I have explored different materials and colors during the years, and off-white fabric with black thread feels most natural to me. It feels like reading an old book, where the pages are not fully white anymore, and the black letters are best to read.
When it comes to my spiderweb frames, I choose a black faux suede or velvet because these black materials swallow all light and the metallic thread can have the attention.
Q: Do you have a dream project that you would undertake if you had unlimited time and resources?
Hundreds! First of all, my dream is to create massive spiderwebs using antique, full-body mirrors or church window frames.
Second, I am currently drawn to everything wearable. I like to explore moving textures and techniques outside of frames. My current spiderweb technique needs the tension of a frame to hold its form, so translating this delicate structure onto moving fabric is tricky. And time consuming! Thinking about veils, transparent dresses, longsleeves, corsets, stage costumes – but as realistic as possible. Also covering clothing all over with my original drawings.
I would like to know my art is used for something, and worn, changing over time with its owner. Now that I think about it, that sounds like the opposite of preservation.
"Never create art for others, only for yourself.
Never ever think about what others would want to see."
- Lisa Kirk
Q: What do you wish you knew when you started making art?
Never create art for others, only for yourself. Never ever think about what others would want to see.
Q: Art is notoriously difficult to define and there are many disagreements. How would you define art?
With the previous question in mind, I would say art is anything that comes from your true self, with the only intention of expressing your true self. As long as you create with your heart, soul and a purpose, others will recognise and respect your work.
Don’t think about reach, don’t think about money, and don’t think about what you saw on Pinterest. If you still create without any of this, you are creating art.
Find more of Lisa Kirk’s works on Instagram and on Etsy.
If you enjoyed this, you might also like the interview about death as inspiration in the curious drawings of Caroline Murta.
And check out last month’s interview about the body-structures of painter Jérôme “Trëz” Oudot.