I have worked in many related media involving fabric, thread, wire, and beads. Most of my work has a stitched construction, either worked onto a fabric backing or as a construction technique of its own. Some examples of the latter include needle lace and needle weaving as well as peyote, Comanche, and loomed bead weaving. Color is a consistent focus of my work, particularly the graduation or shading of one color or pattern into another. Color transitions are employed both for pure visual pleasure and as symbols for the expression of larger themes.
I began with framed embroideries and wall hangings both hand and machine stitched and progressed into a "stitches in air" period of thread constructed objects and jewelry. The fiber jewelry necessitated the addition of beads, both purchased and polymer. The proportion of beadwork to threads increased, eventually progressing to entirely beaded jewelry. The latest shift is toward more seed beadwork, moving back into structural non-wearable objects and wall hung pieces.
I am fascinated not only by the seductivity of beads but also by the relationship of structure to function. Sculptural beadwork must stand on its own without diminishing the overall effect of the message or the intricacy of the stitching. Wearable beadwork must be drapeable enough to adapt to a variety of body shapes, flexible enough to be sensually handled, and durable enough to take the stresses of wearability. My scientific background and years of teaching anatomy, physiology and other assorted biologies has linked together for me the importance of structure and function. I also teach various beadwork classes and have published numerous article on beadwork techniques and exhibited in juried shows all over the United States as well as internationally.
I have since also moved into knitting and felting, stitching and painting. Whether working with beads, fabric, wool, or paint my primary artistic focus is color and color shadings as well as shaping sculptural forms.