"The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world."
Marc Chagall

My current body of work focuses on transforming mundane materials into something extraordinary. I combine my love of textile techniques, fashion design and everyday materials to create works of texture and grace. Necklines, fasteners, ruffles, pleats and decoration of traditional costumes from around the globe inspire me. I draw from my own vocabulary to create interesting patterns and textures from various materials used in repetition. My aim is for the viewer to find the finished products both elegant and curious.
 

 My Vocabulary...
As an artist, I have built a vocabulary of forms, materials and methods that define my work. Knotless netting, spiraling forms, common materials used in great quantity, gaping holes and wire mesh are just a few of the many elements in this language. The vocabulary is constantly evolving as I discover new materials and new works are completed. By applying this vocabulary to strong, simple forms I am able to direct the focus of each piece to the remarkable patterns and  textures created by the wealth of materials and intricate netting. Each piece informs the next and the cycle repeats.

"Through every rift of discovery some seeming anomaly drops out of the darkness, and falls, as a golden link, into the great chain of order."
Edwin Hubbel Chapin
 

 Material Fascination...
I can trace much of my fascination, with the techniques and materials that I am using, back to my childhood. Growing up, I was taught that everything that was around was useful in one way or another; whether it was used for what it was originally intended, refashioned to fit a need or transformed for my entertainment (Tupperware became drums, cardboard boxes became castles, sheets and chairs became forts, etc.). By feeding my imagination, I learned to see the beauty and value of ordinary materials. I always loved combing through flea markets and junk shops with my mother and scouring hardware stores for random materials and obscure parts with my father. Common and found materials such as pistachio shells, paperclips, clothing tags, cut nails and steel washers have always intrigued me and to this day scrap yards, flea markets, junk shops, hardware & surplus stores are my favorite places to go. I am in love with materials that you find in bins - that you can purchase by the 'scoop' or by the pound - any material that you can find in abundance.
 

 How & why I work...
It was never a question whether or not I would pursue art as a career, but rather what type of artistic career I would seek out. From the time I was able to hold a crayon I never stopped creating 'works of art'. I credit much of my success to the fact that my parents were so supportive of my talent and encouraged me to pursue what I dreamed of. (After all, my mother was my art teacher all through school!) Upon entering college, I was introduced to the area of Fibers and became fascinated with the textures and patterns that I began to create. Originally I focused on felting and weaving very large wall pieces that included hardware store materials. Upon leaving school it became quite apparent that I would need a decent amount of studio space in order to continue working in this same way. As most recent graduates, I had no prospect of adequate studio space nor did I know where I was going to be from one month to the next. I felt that I could either make excuses for why I couldn't produce work (lack of studio space) or I could change my way of working to suit my lifestyle and continue creating. Without much thinking about it, I began to work in a different way... it wasn't possible for me to stop working...( I've never known how to sit still!) I quickly became re-obsessed with the repetitive technique of 'looping' or 'knotless netting' that I had briefly studied a few years before. This technique required no more than lap space, a roll of wire and a pair of wire cutters. Combining this 'looping' with my love of pattern, texture and common materials came naturally. I began working in small parts that could later be combined into a larger whole. I continue to work in this same manner today - I work steadily on a multitude of small parts, which are eventually combined into larger works. This allows me to work anywhere at anytime.

"True art is characterized by an irresistible urge in the creative artist."
Albert Einstein


Where do I start? I am constantly collecting random materials and keep them in clear bins on shelving in my studio. This allows me to see them at all times while I'm working - that means that they're always fresh in my mind. At the same time I am continually drawing and sketching ideas for new forms. It may take months or years until the two come together - until I find a way to take the materials that I have saved and are interested in working with and the forms that I am ready to focus on, and have them work together in harmony. I create endless amounts of samples that hang around my studio as inspiration and almost always lead to new, finished works somewhere down the line.

Once I've found the method, materials & form that will work, I move on to making a paper pattern of the finished piece. This pattern is fashioned like a garment pattern - leaving areas where the material (usually wire mesh) will overlap and create a 'seam'. This is used as my guide and the material is cut and formed and the armature is stitched together and embellished. Careful planning is involved along the way to make sure that each seam falls in the right place and that the finished piece will support the additional materials that I then add. Coming from a background in textiles, I enjoy seeing the seams that tell how the piece was created. The stitching becomes an important design element within each work.