A common theme throughout my work, both non-functional and functional, is an intention to use the practice of weaving to elevate the mundane. Handweaving represents an intense investment in time and attention, prompting many questions for the weaver around worth and value: What items are worth meticulously creating? What would I consider usable material? What sources are worthy of inspiration? My work comes at these questions from different angles, where I challenge myself to explore the possibilities that emerge when seeking answers from the margins.
For my ongoing “rag” series, the primary reflection is on material. For these pieces I source weft from discarded clothing, processing it into T-shift yarn, and letting that form guide my creation process. In my functional work, I meditate on the items themselves -- each taking hours of designing, sampling and weaving to complete, no matter how “everyday” its final purpose. In my tapestry practice, I interrogate my source of inspiration, and have been drawn to weaving my own interpretations of discarded drawings. Throughout my work I try to bring out the spark and inherent potential that can be found everywhere, including the curtain on the front door, a threadbare logo tee, and doodles in the dustbin.
From this ongoing exploration, I draw on past experiences at Earlham College (Richmond, IN: 2010-2012), Penland School of Craft (Bakersvill, NC: 2019), and my current Master Weaver training at The Hill Institute (Florence, MA: 2022-current).
