From paintings, fiberworks, and poetry emerges an investigation of identity in relation to lineage, matriarchal ancestry, female liberation, inherited memories and trauma, and communal sewing practices. In this portfolio, the artist engages with intersectional women’s theory, African American women’s literature, and feminist pedegogy to explore questions surrounding the experience of being a woman. In a series of painted self-portraits, the artist reconciles with herself and her body while processing an incident of sexual harassment. Deeply concerned with mending the mother-daughter bond and reconnecting with the collective Mother of humanity, this portfolio also explores Korean culture, history, and art as it relates to the artist’s Korean, maternal grandmother. Through autoethnographic narrative, the artist explores what it means to lose a mother, how trauma and memory manifest from one generation to the next, and the ways in which one becomes their own mother. The artist seeks to heal and honor the Motherline through a series of fiberworks inspired by traditional quilting and Korean bojagi techniques. Infused in these fiberworks are family photographs, stories, and interviews. The textile works utilize found fibers and clothes worn by the artist and her mother, furthering the intimate quality of each piece. The intention of this portfolio is to break generational silences, reclaim matrilineage, and explore ways of caring for and honoring our ancestors and ourselves.