Transforming strands of fiber into cloth is both grounding and magical. Grounding because it is a slow process that demands focus and patience; magical because something imagined is made real, shaped by my hands.
Early in my weaving career I took a workshop with Kay Sekimachi in Coupeville, WA. It was a class in multi-layered weaving where we created unusual woven forms. I was drawn to Kay's skill and discipline, which she paired with a sense of play, experimentation and innovation. I soaked up her keen sense of design and learned the importance of what I call "practiced play."
I sharpened my skill as a weaver during five years at the Silk Weaving Studio in Vancouver, British Columbia. I designed and wove small-production, one-of-a-kind scarves and shawls and fell in love with natural dyes. During my first two years, I experimented with fibers -- primarily silk and merino -- that shrink differently in the finishing process and created highly textured pieces. Towards the end of my tenure at the Silk Weaving Studio, I completed two years in the textile program at Capilano University and built a foundation in other textile techniques. For my final project I created a line of boldly patterned scarves and shawls that combined screen printing with devore (cellulose burnout) on my handwoven fabric.
In 2012 I changed direction and began making non-functional textiles. I set a goal to create textiles to show in a gallery space, and in 2016 I had my first solo show, "Forward Folding", at the AS220 Reading Room Gallery in Providence, RI. This show featured new work exploring tension and distortion in woven, pleated, and shaped cloth. Since then I have continued to strengthen my commitment to process and have moved deeper into practiced play.