I primarily use a foundation of cotton or silk fabric that I have hand-dyed, discharged, and/or printed. Visual depth is created with translucent layers of silk organza (commercial and hand-dyed), and threads. Cheesecloth is often used to provide a distorted organic grid that is further manipulated. These layers are bound to the foundation with embroidery floss and hand stitching. Pieces are mounted on felt and framed in an acrylic box.
Most of the work in the gallery coalesced around experiments with different techniques and media. First, I made a helioprint on cotton using cheesecloth (right side of An Item in the News). I tried to replicate this effect in several paintings by imprinting cheesecloth in gel medium or by layering woven embroidery floss on fabric and affixing them with a layer of gel medium (Grid 3 detail). In 2007, I did a series of monthly journal quilts. Two important techniques came out of these small quilts. First, I used the leftover embroidery floss from the paintings, along with lint collected from hand-dyed fabrics, in a small-format journal quilt (Journal-April). Second, I made a whole-cloth quilt that used embroidery on silk organza (Journal-May). These projects brought me full circle to using cheesecloth for the woven thread grid (Prototype) and hand stitching with embroidery floss to bind the layers together.
While most of my work is intimate in size and handworked, at times it is appealing to work larger and with less detail. The Art Quilt series uses fabrics monoprinted with thickened dyes. These works are often whole-cloth or simply pieced, and machine quilted.