"Overall, the greatest pleasure I get in doing my work, is seeing the progress from an idea, through the gathering of materials needed to the final realization of the completed object."
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| Pattern” - 2011, tapestry: wool, natural dyes, 38½” x 36½” |
When did you first become interested in fiber?
In the early 1970s, I’d noticed someone wearing a handwoven blouse, and became curious about how cloth was made. This started the long path that has taken me many unusual places.
What about the medium of fiber appeals to you?
Working in
fiber is a vey tactile process, especially in an age of virtual experiences.
Also, I’m drawn to things that are not commonplace, and stand a bit off from
the mainstream.
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“From My House to Your Homeland” - 2003
, tapestry installation,
hand-dyed wool and silk,
54” x 98”
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What is the
origin of your ideas, the locus?
For many
years, I wove rugs, based on pattern and color combinations. Slowly, they began
to reference textiles, other than rugs, and no longer were viewed as having a
function as a rug. Then, a confluence of events brought me to a new way to look
at my work: suggested to consider tapestry, an invitation to be part of a major
European exhibition, and a concern about issues in current politics at the
time, 2003. A new way of working evolved with “From My House to Your Homeland”:
the idea preceded the design part of the work.
This piece is a concern about loss of homes in times of war, and the line comes form a poem by June Jordan.
This piece is a concern about loss of homes in times of war, and the line comes form a poem by June Jordan.
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“Canace” - 2011, silk, natural dyes; four selvedge wedge weave, 5¼” x 5” |
Overall, the
greatest pleasure is seeing the progress from an idea,
through the gathering of materials needed, to the final realization of the
completed object. Along this way, I sometimes think the selection of colors and
the dye procedures to achieve those colors give the most immediate
satisfaction; the meditative, step-by-step of building a weaving has a tactile,
albeit slowly realized gratification, but the ultimate goal is the completed,
woven work.
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“Sutra” - 2008, tapestry: Navajo and Tibetan wool, silk, natural
dyes,
44½" x 38½",
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Which dead artist do you most identify with?
Mark Rothko,
for his subtle use of complex colors. Agnes Martin for her simplicity of image,
which conveyed much more on further study; also for her “Writings”.
What is your
biggest challenge as an artist?
Why did you
decide to become a member of CF?
Which living
artist do you most admire?
There are
many, but two who come to mind are Jim Bassler and Martha Stanley.
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“Nocturne” - 2002, rug:
hand dyed wool on linen warp, 83" x 54"
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Writing
effectively about my work.
What is your
biggest fear as an artist?
That I will die with all my weavings, and they
won’t get
out into the world.
What tool
could you not live without?
The dyepot;
if I could not make my own colors,
the work would not be my own.
the work would not be my own.
I have
always enjoyed the company and learning experience of traditional weaving or
fiber art guilds, but a dozen or so years ago when I applied to join California
Fibers, I was drawn to be part of a small but dedicated group of artists, who
worked together to jointly promote their work, through exhibitions, and other
tools to educate the public, such as the website, newsletter and this Blog.
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“Unity”
- 2009, tapestry: wool, silk, natural dyes,
68” x 48”
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What is your
motto?
If it is
worth doing, do it, and do it again.
