My work focuses on the transitory nature of life. I am fascinated by the way natural forces alter and redefine all things, including those made by humans. I am interested in the visual complexity that arises from the decaying process. I see myself as a reporter, recording surfaces and other visual information much like a news reporter records events.
In my new work, I concentrate not only on tactile surfaces and the visual changes brought on by time, but also on the moods evoked by place. More specifically, moods related to the contrast evoked by interiors and exteriors. Windows and doorways play heavily in this imagery. I am interested in the control and isolation of information given by point of view and by the framing of doors and windows. Equally of interest are the moods created by the quality of light as it changes from outside to inside.
I am concentrating on making places that invite the viewer into the piece; places where the viewer could imagine themselves being. In a sense, this body of work suggests narrative without telling a specific story. The story instead becomes the one the views tells about their relation to the location depicted in the image. This may be a personal experience or something from our shared cultural past.
My process begins with photographs, which I take myself. Frequently I alter these on the computer. These I cut and arrange, sometimes creating collaged images. Even pieces that appear as single images are often the result of combining two or more photographs. When a composition is ready, I scan it into the computer and transfer it to fabric. Then the piece is stitched with a basic sewing machine. None of the stitching process is computerized. My technique of machine stitching comes from my love of drawing. The stitches, which completely cover my canvas, are like pencil hatching. To achieve the freedom I want with the sewing machine, I lower the feed dogs so the machine does not control the fabric. I then move the fabric freely as I sew to achieve the length and density of stitch wanted. Different colors of thread are layered throughout each piece to enrich the colors. The stitching is so dense that none of the original image or fabric shows. The fine scale of thread is an extraordinary tool for describing detail. This has become increasingly apparent the more I work with thread, and my work has evolved accordingly.