The punch needle community is filled with talented artists and makers who constantly amaze us as they create beautiful works of art and push the medium in new directions. In this series, we go "behind the skeins" to learn about various artists and feature their work to our community. Read on to be inspired!
I'm thrilled to be reviving our "Behind the Skeins" artist features by highlighting the work and story of Adrienna Matzeg, a Toronto-based industrial designer and textile artist whose punch needle embroidery captures fleeting moments in vibrant detail.
I've been following Adrienna's journey for some time now, and as someone deeply inspired by travel myself, her work resonates with me on a profound level. Her ability to capture those perfect little slices of life—whether it's Lake Como's landscapes, California's iconic signage, or a leisurely Italian aperitif—evokes a wonderful sense of nostalgia. Looking at her pieces, I find myself transported back to places I've visited and dreaming of those I haven't yet experienced.
This feature also marks an exciting evolution in our artist spotlights as we begin to showcase creators across the full spectrum of punch needle techniques—from rug hooking to embroidery and tufting!
Read on to learn more about Adrienna's journey, her rituals for entering a flow state, and how the pandemic unexpectedly led her to discover punch needle as her medium of choice.
Tell us a little bit about your creative background. What led you to the work you do today?
I currently live in Toronto, Canada and I work as an Industrial Designer and Textile Artist. I’ve worked as an Industrial Designer in Toronto for 10 years and my area of focus is furniture and rug design for residential and hospitality projects. Fun fact, in 2019 I worked collaboratively on designing the jewellery displays for Mejuri’s stores, which can still be found in all their stores internationally.
What led me to punch needle embroidery was the opportunity for a creative outlet during the first Covid lockdown in 2020. I had recently been laid off from my job due to the pandemic, and needed a creative outlet to keep my mind and hands busy.
How did you get started with Punch Needle? What is it about this technique, or working with fiber, that appealed to you?
I taught myself the punch needle technique during Covid in 2020. I decided to focus on punch needle embroidery specifically, because I was drawn to the vivid colours and the huge colour range that the threads came in. I also lived in a 600 sq ft. apartment in Toronto, so the space limitation really defined the scale of my work from the beginning. I’ve tried various embroidery techniques but the reason I enjoy punch needle is because it feels like the freest form of embroidery, similar to sketching or drawing. I also love how tactile the medium is, but also how clean it is! I’ve studied painting, but I don’t like getting messy.
We'd love to hear about your creative process. How do you begin a piece? What inspires you?
My creative practice has always been process-driven. I studied both photography and textiles in university, drawn to the meticulous nature of both. In darkroom photography, there are multiple steps—from planning and shooting to processing film and darkroom developing, all requiring patience. My textile work follows a similar pattern. I’m inspired by the relationship between photography and textile, they are both things that we interact with daily. I begin my process by reviewing my photos I’ve taken from past trips. The images and objects I choose are significant in some way, and capture the essence of a moment. Recently I’ve been exploring found imagery too. When I have my selections I then recreate them in Illustrator to create a stencil that I’ll use to trace onto my fabric. At this point I begin the colour selection. I often spend as much time planning as I do actually punching the final piece, which is around 20-30 hours. In the process of re-creating these photos in threads, I allow myself to fill in the missing bits, or imagine what the colours of something would be. Similar to the experience of recalling a memory. They turn out more idealized.
Do you have any rituals or habits that help you get into a creative flow state when working?
One ritual I follow religiously is making matcha tea before I start working. I also use noise-cancelling headphones, which really help me get into the zone. What I love about my practice is the balance—some parts require intense focus, while for others, I can relax, turn on a movie, and dive right in.
What is your favorite thing about the work that you do?
For me, the creative process is essential to my mental health. When I’m dealing with stress, I’m incredibly grateful for my practice. It’s what centres me. In fact, I often feel most inspired when I need an escape from whatever is troubling me. There is a lot of back-end organizational stuff that goes into being an artist, but the moments that I can just be present with the tools and materials in my hands is my favourite.
What is the most difficult thing about the work that you do?
My work is deeply process-driven, and I spend as much time planning as I do making. It’s easy to get caught up in refining every detail before I even start punching, but I’ve learned that the best moments often come when I leave room for spontaneity.
Choosing colors is also a difficult part of the process. I prefer selecting colors in daylight, which can be tricky in the winter when natural light is limited. And when I’m working on a series, ensuring a cohesive palette across multiple pieces takes a lot of consideration.
As for getting in a creative rut, I’ve found that looking back at past travels, revisiting old sketches, or simply stepping away for a bit can help me reset.
How has your work evolved over time?
My first series was inspired by Lake Como, Italy. After visiting Lake Como in 2018, I was captivated by its mix of tropical greenery, snow-capped mountains, and stunning architecture. Initially, I was drawn to combining architecture with landscape imagery. For my next series on LA and California, I expanded into typography and signage, which quickly became a hit. From there, I returned to representing Italy, focusing on Milan. This time, I created more contextual work, including my first still life, ‘Aperitif,’ capturing the essence of a leisurely afternoon with Aperol, bread, and olives. This piece sold before it was even finished! It was a jumping off point for my current work depicting food. I’m beginning to explore new techniques such as gradients, and experimenting with using both the loop and flat stitches. I’m also planning to work on a larger scale.
What do you hope others see, gain, or take away from your work?
I hope people take away a sense of nostalgia, bringing their own memories to the work. My latest series, The Scenic Route, taps into that shared experience of road trips. I want viewers to recognize something personal in these scenes, even if they can’t quite place where or when.
And finally, my work is very small. I want to challenge the notion that art doesn’t need to be big to make an impact. A small piece can still hold weight.
How do you see punch needle art fitting into broader contemporary art conversations?
I want to highlight appreciation for the process and for textiles as a medium. I want to challenge the assumption that embroidery is based in craft, and not fine art—textiles have a long, rich history, but they’re also contemporary, conceptual, and capable of telling complex stories, much like other forms of ‘high’ art. I aim to position my work at the level of painting.
Where do you see your work going in the future?
I’m working on participating in more in-person shows. Textiles are so tactile, and experiencing them in real life adds another layer that doesn’t always translate through a screen. Whether it’s solo exhibitions or group shows, I’d love for people to engage with my work more physically.
In the future, I want to play with scale and explore larger pieces. My work is often smaller and intimate, but I think expanding into larger formats could highlight its versatility—especially for hospitality spaces and clients.
And beyond that, I’m open to brand collaborations. I think there’s potential for my aesthetic to translate into different applications—whether it’s working with brands to interpret their logo or on product-based projects. I recently worked with CBC Arts to recreate their logo.
Where can the Punch Needle World community find you to follow and support your work?
My full body of work can be found on my website. Please check out my Instagram account to see my process and current projects on the go. Also to find out about upcoming launches and shows. I also recently launched prints of my work with Paper Collective, based in Denmark.
What are 3 other fun facts about yourself that you would like to share with the PNW Community?
- I have a mini Australian Shepherd whose hair is definitely in every piece I make haha.
- I recently discovered that using a head-lamp to work is a game changer.
- I’m convinced that all this punch needle embroidery would make me a very good tattoo artist.
To learn more about Adrienna and her work, visit her website at www.adriennamatzeg.ca or follow her on Instagram @adriennamatzeg!