My Process
My work has taught me to trust my instincts. I begin with the germ of an idea and the design evolves as the piece progresses. Although I occasionally use notebooks to record impressions and remember details, most of the time I let the ideas sit and ferment. This is how it is with my art; I follow my internal navigation.
The direction I choose is partly determined by the colours that I find appealing at that moment, as every combination has its own voice. My preference is for cutting shapes free-hand; it is the essence of each shape that interests me, not perfect replications. I often leave the threads at the edges of the shapes to dangle and follow their own physical expression. The placement of each shape requires attention to detail, since collectively they form the framework for the design.
Pivotal to my process is recognition of when to stop building; therefore from the start I am continually projecting in my mind how the stitching will affect the piece. Unlike the cutting process, the stitching lines are done with precision; they have a key impact on the piece. Most of the decisions have been made by this point, and the stitching becomes a rhythmic, soothing activity. Now I can see my vision become concrete.
Building contrasts are an essential part of my work: in the colour combinations, the placement of the shapes, the rows of stitches and the spaces in between them, the surfaces, and the layering of materials. I also savour diversity in the steps involved in creating my work, as it keeps the process fresh for me. What I enjoy the most is the reductive process, the search for the ephemeral balance.
I appreciate the undertones that are expressed in a work of art, wordlessly, in undefined ways. Each work has an essence that hints at fragments of the artist. The process goes full circle when the viewer’s personal response creates a connection with me, and with my art.
See my list of current and past exhibitions