Miss Havisham’s Bouquet
Materials: Cotton, wool, linen Process: Print and dye, sewing, weaving
Skin and Bone
Materials: Handmade Paper Processes: Paper making, embroidery
My experience with craft began in a little flower shop around the corner, that held a “Help Wanted” sign in its window. On the job, I was taught textures, colour theory, design and handmade compositions. It required tactile and fine movements of the hand. With time, practice and critique came skills, and a love for the tactile and crafting sensibilities. I found knitting next, it felt natural in its gesture and progression, meditative in it’s practice. I was living in a city where traditional crafts are funded, practiced and adored making the study of knitting and textile arts accessible.
Moving cities amidst my studies led me to new working methods, vocabularies and views. I have discovered the layers of surface design and the architecture of weaving structures. I am inspired by architecture of various natures, from the cityscape of New York City in the 1960’s to the dilapidated and graffiti painted surfaces long left abandoned to the elements, and the broken windows of left over stained glass. My weaving projects focus on structure in formations, gritty textures to emote and touches of colour to celebrate the past being revisited.
Surface design allows for the lamination of layers upon layers, a collage, similar to the multifaceted structures of a character, a life, a story, dreams or thoughts. It allows for depth in the work and a view from all angles. I appreciate the narrative, complex character analysis, setting and the story that unfolds within my designs. Using doll-making, multi-series and transparent layers in my work to represent and expose my observations of views and existing characteristics without judgment.