Critical Context
On the Work
My work is rooted in process, and I want that process to remain visible in the finished tapestry. The layered constructions change as people move around them, so perception itself becomes part of the work. Foreground, background, object, and shadow can shift continually depending on where the viewer stands.
I have always been interested in creating work that is both disciplined and improvisational. I hand-dye yarns, paint threads, and build multilayered surfaces with sculptural depth so that light and shadow become active materials within the work.
Movement is central to what I make. Water, power, persistence, the unknown, and the search for order within apparent randomness recur throughout the work. The tapestries are physically demanding and meditative to create, yet the finished pieces remain kinetic and invite people to look from more than one position.
My work has developed through an international life in art, with exhibitions and commissions connected with Moscow, Nagoya, Thailand, Korea, China, Canada, Israel, Sri Lanka, New Zealand, embassies, consulates, public collections, and private collections. Those experiences have continually expanded the way I think about space, movement, material, and the relationship between the viewer and the work.