While referencing the visual languages of modernism, pattern and decoration, and vernacular craft, these works remain grounded in lived environments. They translate encounters with specific places into abstract structures that operate as a site of convergence, where material, place, and time are woven into a single, tactile field.
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The works in this series have expanded space between the straps which puts increasing emphasis on the stretcher support. The tubular wood stretcher frame allows the canvas straps to roll over the edges creating an intimate relationship to the support. The extended width of the gaps and the larger applications of color allows for the strap to gain more individuality in its role in the interlace.
Like a thoughtful planned garden I wish for the paintings to present a symbiosis among a network of individual components within its place in a community. Although grounded in the rudiments of abstraction, the autonomous strip feels playfully antagonistic to the interlaced field creating a familiarity with figurative space akin to a coneflower among a wildflower garden.
I create woven paintings are somewhat rigid in design: the taut strips of canvas, the sewn hard edges of painted or dyed cut fabric, and the precise weave pattern. The stiffness is tempered by fraying torn fabric and carefully orchestrated colors. Just as a scent from a plant can transport us in time, so should each color in a painting when applied with precision and emotion.
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