Mauve, 2021
Linen thread, acrylic paint, wood panel
60 x 60 in
My new series is based on the Japanese form of Ikat called Kasuri, an ancient weaving and dye technique that uses a resistance method applied directly to yarns in order to create woven patterns. Similar to the iconic blurred effect of Kasuri, these new works blur the line between textile and painting. My surface substrate begins as a chaotic network of linen yarn applied to wood panels in indiscriminate clumps andis then gessoed into a flat but topographically rough surface. From here I apply paint directly onto the thread using a tonal palette that creates the illusion of a woven grid, while my threads remain in disarray just underneath the paint’s surface. Inspired by hand-woven materials from my mother’s country of origin, these works are a continuation of my inquiry into the evocative nature of fabric and the deep relationship between humans, textiles, comfort and care.
Meteor, 2022
Linen thread, acrylic paint, wood panel
24 x 32 x 1 7/8
Flame (Roots Series), 2019
Acrylic paint, hand-knotted linen threads, brass
70 x 12 x 5 in
Tied with overhand knots of linen threads and then painted with acrylic, the varying forms from The Roots series are furry sculptures. Threads are unmoored from the woven grid or knitted structure and hang loosely in intermingling groups.
Linked together through a series of basic knots, these works reference the simplicity of bringing disparate elements together through the act of knot tying–a practice both universal and historical, linking humankind together through space and time. Orderly tangles of painted thread mirror organic root structures and remind us of generative creation and the basic physical structures of life.
Kasuri, 2021
Acrylic paint, linen thread, recessed wood panel
60 x 48 x 1 7/8 in
My new series is based on the Japanese form of Ikat called Kasuri, an ancient weaving and dye technique that uses a resistance method applied directly to yarns in order to create woven patterns. Similar to the iconic blurred effect of Kasuri, these new works blur the line between textile and painting. My surface substrate begins as a chaotic network of linen yarn applied to wood panels in indiscriminate clumps and is then gessoed into a flat but topographically rough surface. From here I apply paint directly onto the thread using a tonal palette that creates the illusion of a woven grid, while my threads remain in disarray just underneath the paint’s surface. Inspired by hand-woven materials from my mother’s country of origin, these works are a continuation of my inquiry into the evocative nature of fabric and the deep relationship between humans, textiles, comfort and care.
Wet felted merino wool, lyocell, silk and glass beading. Plastic flotilla underskirt. Size 2-4.
This piece reflects my deep respect for the health of our oceans. Sadly, our beautiful oceans are now contaminated with giant masses of floating plastic debris that imperil birds, wildlife and humans. They will continue to grow exponentially unless we take drastic measures to reduce our plastic waste and to clean up the mess we have already made. Reduce, Reuse, Repurpose, Repair.
Four feet wide, this is made from sustainable Costa Rican Parota wood, combined with steel and canvas printing.
It is a continuation of a four heart theme I have been exploring since late 2021, utilizing woods from a variety of trees.
Wet felted merino wool and embellishments.
Three panels of four horizons each. Wet-felted wool and silk.
When we are young the possibilities seem endless, the horizon is distant. When do we realize that those horizons have become nearer and dearer? We learn to greet every sunrise and every sunset with awe and gratitude. Every day is a precious and fleeting gift, not to be taken for granted.
