This is a very large bag!  I designed it specifically for going to the Farmer’s Market, but have been using it to carry things to my classroom as well.  It is made from burlap in tangerine and kiwi, and features hand-stitched wool felt design on the exterior (I adore those 70’s graphics).  I actually made it in honor of the 40th Earth Day, because I was remembering the field trip I took with my class for the very first Earth Day celebration.  We spent the day at a nature preserve, and I remember it being very lovely.  Farmer’s Market totes will be available for purchase shortly.


The Root of all that Is

April 10, 2010

About 5 years ago I found a huge volume in the library on medieval persian paintings.  I was so fascinated and struck by the beauty with which the natural world was portrayed, the amazing overgrown gardens, fountains, landscapes.  I also loved the integration of the man-made into the scenes: intricate tile patterns, embellished instruments and furniture, architecture.  I spent several months doing studies of my favorite aspects of these paintings in my sketchbooks, and set out to do a rather large painting using these works as an inspiration.

After working for a few weeks on the underpainting which was just the springboard for the more personal, integrated vision I was discovering as I worked, I woke up one morning with tremendous pain in my hand.  Off I went to the doctor, and to this day have been unable to finish that painting ( no more big brushes for me, hence the fiber work and small drawings).  So that painting still exists in its unfinished, gestational state.  I pulled it out recently ( I couldnt look at it for so long, because it cried out to me to be transformed into its next state of being,  and I would just look at it with frustration).  I hung the painting up on the wall.  Underpainting, drips, incomplete vision and all.  I think I will move the image to its next place, but on a different work, maybe a textile piece.  I am certain that the finished painting would have looked completely different than the work as it hangs now.  But, in the end, how often do we leave traces of our process, as we battle with our vision and ideas as the image evolves out of our struggle?

 The Root of all that Is, Detail

 The Root of all that Is, detail

  The Root of all that Is, unfinished work, 2005

 A couple of years ago I was asked to participate in a group show, the theme of which was Love.  At the time, I was reading the poety of Hafiz, and decided to do some drawings in contemplation of his expression of divine love and his yearning for the Beloved.  What emerged in my work had to do with light, essential nature, and the soul soaring on divine wind.

I worked on hand-pressed paper with Senelier oil pastels, so happy to find that I could build up surface like I could with paint.

Only that Illumined One
Who keeps
Seducing the formless into form
Had the charm to win my heart.
Only a Perfect One
Who is always
Laughing at the word Two
Can make you know of love. – Hafiz


April 2, 2010

Meditation III

More from the sketchbook.  I am using drawing as a form of mindfulness meditation, responding to breath and sound in the environment.  I begin with no direction, letting the hand guide the work, with no prompting from the mind.  This work could be the springboard for a more finished work in drawing or fiber later on.

Notes to Self

March 19, 2010


Pages from my sketchbooks.  I draw during meetings at work, in waiting rooms, on airplanes, in parks waiting for soccer to be over.  I also draw when I can’t sleep, or am ill or ill-at-ease.  I know this is what settles and balances me.


At these times, I am able to draw with an uncritical mind.  Drawing becomes a process of reflection and mindfulness.  I am taking notes on something, but not aware at that time what that might be. Activity and talk and noise is usually all around me, but somehow through this process, the mind is free.


The material can later become a springboard for other works on paper, or in fibers, jewelry, whatever they are meant to grow into.


January 6, 2010

I am working on two tapestries right now, and while I am doing that, I am thinking about a third.

What do I need to learn? and how can I explore that through stitch?

First, I am thinking about underpainting.  Stitch an entire surface, and then build up from there.  Dyeing the threads will bring transition and continuity, I think.

And I am still thinking about tangles of roots and leaves and new shoots, earth shifted by rain, and stones, the visual relationships.

White Table

January 2, 2010

Someday I hope to have a studio.  For now, I have a white table.

Hand-dyed threads. Roots tangled around stones, with green shoots, and water.  Visual references for the works in progress.