I am a printmaker and textile artist, primarily a quiltmaker. I been sewing for 30+ years; as such, fabric and fibers have become my chosen medium; paper is a close cousin and my current second favorite medium for creative exploration.
In my practice and pieces, I like to investigate the liminal space between past and present, chaos and control, trash and treasure. I explore matters of taste and trend, the relative value of textiles in a global, throwaway world, and the debate the public perception of the quilt as art or craft.
Questions that inform my practice include: What is “ugly” or “tasteful”? What could choices could I make (via fabric, design, or color choice) that might push the commonly accepted notions of “taste”? What is valuable? What is garbage or useless? Can I produce an end product that succeeds in transcending these notions?
I prefer to utilize secondhand, found or community-sourced/discarded textiles and papers in my work as much as possible. This creates a community-art based dimension to my work; I am having a curatorial conversation with and about the society in which I am a part, via the sorting, selecting and usage of the discards and detritus of my local and global neighborhood. I believe that used textiles retain value in our throwaway society. What is “useless” transforms into a valuable resource. By using these materials as the basis of my art, I hope to challenge and change minds about commonly accepted notions regarding the value of items in our material culture.
I see markmaking as an expressive, transformative act, a way to claim, reframe, and elevate a previously blank or found textile or scrap of paper. I approach the application of hand-applied geometric surface patterns on fabric or paper in a layered, iterative, and experimental manner, viscerally enjoying the inherent flow, and sense of surprise, serendipity and play.
My current bodies of work include both prints and quilts that nod to the canon of tessellated structures of traditional quilts. I like to experiment with unusual colorways and levels of saturation in color, creating a power clash, with insistent pairings that challenge and excite the eye. I enjoy watching what happens when color shifts and reacts to adjacent or applied color in the process of printing and piecing.
I consider my quilts to be art objects, suitable for display, though they often retain a functional quality.
In my current body of print work I am using the immediacy of the monoprint process to create multilayered gestural prints and quick paintings, which I then use as source material to cut apart in an effort to create collages of sewn paper “quilts” and quilt blocks. These collages evoke quilts but are meant to be framed and/or hung on a wall.