I began my work as a fiber artist making and selling vibrant, colorful, botanical based wearable art. Although this was a successful endeavor, I realized that my “fun and funky felt” served as a type of approval-seeking and that I risked limiting my audience and my full range of expression.
Less driven to produce sellable “products”, I became freer and more open to experimentation. I turned to felted sculpture, and took exuberant color out of the equation. “No added color” became my palette and gave me room for abstraction. I used minimally processed alpaca from a small ranch breeder, bought and processed my own wool fleece, and eliminated the dyeing process. Then I stumbled across my collection of old sewing patterns and took a break from felting. Sewing patterns have taken root and a life of their own.
The end results are individual works and installations that reference both the human body and the existential frailty of our condition—personal and planetary. The forms sometimes appear as atoms, molecules, orbs or planets; fragile, ethereal and celestial. Other times they are visceral and alimentary; curvaceous bulges, hollowed-out torsos, guts, sacs, tubes, and pods. They are colonies teeming with life and death.