During my journey as a weaver I've learned that transforming strands of fiber into woven 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 on 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. Yet, the most valuable thing I learned had nothing to do with the class description. Instead, I was most drawn to Kay's way of working: her skill and discipline, and her sense of play, experimentation and innovation. I soaked up her keen sense of design and learned the importance of practiced play.
I sharpened my skill as a weaver during five years at the Silk Weaving Studio in Vancouver, British Columbia. It was an ideal place for me to explore, experiment and grow. At the Studio, 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. By combining these materials and playing with weave structure, I created highly textured pieces that bulged and puckered. 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. Using my recently acquired knowledge of silk screen printing, I created a line of boldly patterned scarves and shawls that combined screen printing with devore (cellulose burnout) on my handwoven fabric.
A few years ago, I began to consider making non-functional textiles, a daunting and exciting thought. I enrolled in workshops taught by two gifted teachers and artists: Rachel Meginnes at Penland and Mo Kelman at Convergence in Providence, RI. Inspired and encouraged, I set a goal for myself to create textiles to hang on a gallery wall. 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. Putting this show together strengthened my commitment to process and moved me deeper into practiced play.