Selfie with Tefillin
Selfie with Tefillin

2014

Digital print on eco canvas, free motion embroidery.

14" x 19"

All Manner of Openings, II
All Manner of Openings, II

2015

Digital Printing, Trapunto, Free Motion Embroidery

17 3/4" x 23"

Digitally printed photograph of a fiber sculpture I made titled "Asher Yatzar" on canvas, after the Jewish blessing thanking God for creating man with "all manner of openings."

All Manner of Openings, I
All Manner of Openings, I

2014

Digital Printing, Trapunto, Free Motion Embroidery

17" x 22"

Digitally printed photograph of a fiber sculpture I made titled "Asher Yatzar" on canvas, after the Jewish blessing thanking God for creating man with "all manner of openings."

Chimera
Chimera

2014

Knitted repurposed leather, linen, hemp and sterling silver wire, found stones wrapped with repurposed leather, silk wrapped sisal rope, pine drawer, and glass taxidermy cow eyes

What remains of an animal’s soul when we make things from their bodies? Is their soul present in their residue? The eyes make these vessels look like they are their own species, chimeras. The eyes also witness and will hopefully make the viewer think about the soul of the being whose body the leather once belonged to, and to think about whether their soul lingers in the material.

Flock of Souls
Flock of Souls

2014
Wet felted wool, knitted wool, silk and stainless steel, taxidermy eyes

I play with the incongruity of comforting materials and discomforting images, making visible and concrete things we may rather not see or contemplate. These animal spirit vessels, which want to be cradled and are made from materials from the body of the sheep, prompt us to question if there’s any meaningful difference between human and non-human animals.

Rubber Soul (detail)
Rubber Soul (detail)

2014

Knitted cotton, silk, chicken feathers, hemp, wool roving, glass taxidermy chicken eyes, cotton wrapped sisal rope, vintage egg basket, rubber chicken

Rubber Soul
Rubber Soul

2014

Knitted cotton, silk, hemp, antique egg basket, sisal rope, wool, taxidermy chicken eyes, abandoned rubber chicken

Keep Calm and (Don't) Eat Eggs
Keep Calm and (Don't) Eat Eggs

2014

Knitting, Coiling, Screen Printing, Collage

13" x 40" x 7"

What does an animal’s soul look like?. Chickens are slaughtered in such astounding numbers every single day that I don’t think many people take the time to think about the soul of a chicken, or think about them as individuals at all. “One death is a tragedy. One million is a statistic.” It might be harder to slaughter them by the millions if we thought about their souls and the beauty of their individual lives.

 

Chicken Death Story
Chicken Death Story

2014

21 1/2" x 25"

Layered cut appliqué.

Designed in the style of Kona Indian made mola layered applique cloth, which frequently depict animals and tell stories.

Okinawa: Loyalty in Death
Okinawa: Loyalty in Death

2014

Left to Right: 13 1/2" x 51 1/2"; 13 1/2" x 28 1/2"; 10 1/2" x 102" 

Warp and weft Ikat weaving, indigo dyed organic cotton

Installation with photo, book, snuff bottle and enamel box in memory of my late uncle, who served in Okinawa where ikat is traditionally woven. The paperback, Loyalty in Death, is the book he was reading when he killed himself.

A Closer Look from Farther Away
A Closer Look from Farther Away

2014

Embroidery and Wet and Needle Felting on Fulled Wool
This is a felted book of aerial photographs from Google Earth satellite images of a feedlot and its waste lagoon in northwest Texas. The left page is from further away, and each cow is just one small black embroidered stitch compared to the waste lagoon which takes up the entire bottom half. On the right, a little closer, each cow is a french knot stitch. Studies have shown that people find aerial photography more believable than photography that involves perspective and cropping, which are interpreted as the bias of the photographer. Since I make a lot of art about animal exploitation, I thought it would be interesting to take a step back and show a disturbing image from very far away.

Lies My Parents Told Me
Lies My Parents Told Me

2014

Embroidery

I hand embroidered lies parents tell their children on the Mother Goose Nursery rhyme curtains from my childhood bedroom. 

Selfie with Purple Streak
Selfie with Purple Streak

2014

Appliqued cotton, free motion embroidery of digitally manipulated selfie.

State of the Art Killing Machine
State of the Art Killing Machine

2014

Machine woven cotton blanket of digitally manipulated appropriated newspaper image with appliqued handwoven wool and silk, and appliqued Whole Foods butcher paper.

Face Reading
Face Reading

2014

24” x 38” x 1 ½”

Cross stitch on 14 Aida Linen, wood, digital sound. Face reading allows us to see the true nature of the other and brings to the surface the map of the psyche. I read/stitched my husband’s and daughter’s faces and then recorded them reading each other’s faces using contemporary and ancient techniques.

Three Selfies
Three Selfies

2014

Cross stitch on 14 Aida Linen

The Center selfie was exhibited in the 16th Annual Juried Student Exhibition, Georgia State University, Eugene Welch College of Art and Design and at The Spotlight on Student Fiber Trends at Lamar Dodd School of Art Gallery, University of Georgia.

Old McDonald Had a Farm Baby Blanket
Old McDonald Had a Farm Baby Blanket

2014

Screen printed drawing from appropriated newspaper image on synthetic fabric treated with heat gun, and free motion embroidery. 

Included in the 2nd Annual MINT Gallery All Media Juried Exhibition: Here to GO, Atlanta, Georgia. Jurors, artists Craig Dongoski and Pam Longobardi.

Shadows Folded
Shadows Folded

2014

Shadowfolded Silk

22" x 22"

Hand stitched pleats to create a geometric pinwheel path across the cloth.

Normalized Cruelty: Calm Cows Taste Better
Normalized Cruelty: Calm Cows Taste Better

2013

Screen Printing and Digital Printing

Each placemat is 14 1/2" x 19 1/2"

Two place settings from the Normalized Cruelty series.

Normalized Cruelty: Debeaked and Diseased for Your Dining Pleasure
Normalized Cruelty: Debeaked and Diseased for Your Dining Pleasure

2013

Screen Printing and Digital Printing

Each placemat is 14 1/2" x 19 1/2"

Two place settings from the Normalized Cruelty series.

Pumped
Pumped

2013

Mixed Media, Screen Printing

24" x 28" x 36"

Screen printed faces on recycled cotton breast-feeding pads and cow print on vintage nursery rhyme flannel attached to a Medela Pump 'n Style breast pump.

Silent Spring
Silent Spring

2013

Surface Design, Dyeing, Thermofax printing

38" x 44" x 4"

Dyed silk velvet depicts polluted water; silk organza depicts the mosquitoes being sprayed with DDT; and a thermofax printed napkin folded as a paper boat, with the image of Rachel Carson, author of Silent Spring, who exposed the perils of DDT leading to the insecticide being banned from use.

Free Stitch
Free Stitch

2012

Free Motion Embroidery, Trapunto

18" x 23" x 1 1/2"

Free motion embroidery on vinyl, silk and cotton. 3-D flower and leaf stitched on Solvy and shaped with some of the residual 'Glue." 

Skin Deep
Skin Deep

2012

Sewing, Embroidery

Left to Right: 12 1/2" x 10", 22" x 18", 14" x 11" x 12"

A bib, toddler dress and training bra sewn from muslin and the pages of a book entitled "The American GIrl Beauty Book" published by the Girl Scouts of America in 1954, which is rife with body image issue-inducing advice about weight and body development. The embroidery on each item represents the marks a plastic surgeon makes on a woman's body with a Sharpie marker to indicate location of the liposuction or augmentation.

Three Masks
Three Masks

2011

Knitting, Fulling, Needle Felting

Left to Right: 7" x 20", 7 1/2" x 12", 6 1/2" x 10"

I've been making masks for more than twenty years. What intrigues me about masks is that they both hide and reveal. They may hide the wearer's face, but through the hand of the artist and the actions of the wearer, they reveal something much more intimate and personal than were one to be looking at the wearer's actual face.

Lee's Surrender
Lee's Surrender

2010

Weaving

21" x 21"

A traditional early American coverlet design woven with hand-dyed wool sock yarn on a black tencel warp.

Selfie with Tefillin
All Manner of Openings, II
All Manner of Openings, I
Chimera
Flock of Souls
Rubber Soul (detail)
Rubber Soul
Keep Calm and (Don't) Eat Eggs
Chicken Death Story
Okinawa: Loyalty in Death
A Closer Look from Farther Away
Lies My Parents Told Me
Selfie with Purple Streak
State of the Art Killing Machine
Face Reading
Three Selfies
Old McDonald Had a Farm Baby Blanket
Shadows Folded
Normalized Cruelty: Calm Cows Taste Better
Normalized Cruelty: Debeaked and Diseased for Your Dining Pleasure
Pumped
Silent Spring
Free Stitch
Skin Deep
Three Masks
Lee's Surrender
Selfie with Tefillin

2014

Digital print on eco canvas, free motion embroidery.

14" x 19"

All Manner of Openings, II

2015

Digital Printing, Trapunto, Free Motion Embroidery

17 3/4" x 23"

Digitally printed photograph of a fiber sculpture I made titled "Asher Yatzar" on canvas, after the Jewish blessing thanking God for creating man with "all manner of openings."

All Manner of Openings, I

2014

Digital Printing, Trapunto, Free Motion Embroidery

17" x 22"

Digitally printed photograph of a fiber sculpture I made titled "Asher Yatzar" on canvas, after the Jewish blessing thanking God for creating man with "all manner of openings."

Chimera

2014

Knitted repurposed leather, linen, hemp and sterling silver wire, found stones wrapped with repurposed leather, silk wrapped sisal rope, pine drawer, and glass taxidermy cow eyes

What remains of an animal’s soul when we make things from their bodies? Is their soul present in their residue? The eyes make these vessels look like they are their own species, chimeras. The eyes also witness and will hopefully make the viewer think about the soul of the being whose body the leather once belonged to, and to think about whether their soul lingers in the material.

Flock of Souls

2014
Wet felted wool, knitted wool, silk and stainless steel, taxidermy eyes

I play with the incongruity of comforting materials and discomforting images, making visible and concrete things we may rather not see or contemplate. These animal spirit vessels, which want to be cradled and are made from materials from the body of the sheep, prompt us to question if there’s any meaningful difference between human and non-human animals.

Rubber Soul (detail)

2014

Knitted cotton, silk, chicken feathers, hemp, wool roving, glass taxidermy chicken eyes, cotton wrapped sisal rope, vintage egg basket, rubber chicken

Rubber Soul

2014

Knitted cotton, silk, hemp, antique egg basket, sisal rope, wool, taxidermy chicken eyes, abandoned rubber chicken

Keep Calm and (Don't) Eat Eggs

2014

Knitting, Coiling, Screen Printing, Collage

13" x 40" x 7"

What does an animal’s soul look like?. Chickens are slaughtered in such astounding numbers every single day that I don’t think many people take the time to think about the soul of a chicken, or think about them as individuals at all. “One death is a tragedy. One million is a statistic.” It might be harder to slaughter them by the millions if we thought about their souls and the beauty of their individual lives.

 

Chicken Death Story

2014

21 1/2" x 25"

Layered cut appliqué.

Designed in the style of Kona Indian made mola layered applique cloth, which frequently depict animals and tell stories.

Okinawa: Loyalty in Death

2014

Left to Right: 13 1/2" x 51 1/2"; 13 1/2" x 28 1/2"; 10 1/2" x 102" 

Warp and weft Ikat weaving, indigo dyed organic cotton

Installation with photo, book, snuff bottle and enamel box in memory of my late uncle, who served in Okinawa where ikat is traditionally woven. The paperback, Loyalty in Death, is the book he was reading when he killed himself.

A Closer Look from Farther Away

2014

Embroidery and Wet and Needle Felting on Fulled Wool
This is a felted book of aerial photographs from Google Earth satellite images of a feedlot and its waste lagoon in northwest Texas. The left page is from further away, and each cow is just one small black embroidered stitch compared to the waste lagoon which takes up the entire bottom half. On the right, a little closer, each cow is a french knot stitch. Studies have shown that people find aerial photography more believable than photography that involves perspective and cropping, which are interpreted as the bias of the photographer. Since I make a lot of art about animal exploitation, I thought it would be interesting to take a step back and show a disturbing image from very far away.

Lies My Parents Told Me

2014

Embroidery

I hand embroidered lies parents tell their children on the Mother Goose Nursery rhyme curtains from my childhood bedroom. 

Selfie with Purple Streak

2014

Appliqued cotton, free motion embroidery of digitally manipulated selfie.

State of the Art Killing Machine

2014

Machine woven cotton blanket of digitally manipulated appropriated newspaper image with appliqued handwoven wool and silk, and appliqued Whole Foods butcher paper.

Face Reading

2014

24” x 38” x 1 ½”

Cross stitch on 14 Aida Linen, wood, digital sound. Face reading allows us to see the true nature of the other and brings to the surface the map of the psyche. I read/stitched my husband’s and daughter’s faces and then recorded them reading each other’s faces using contemporary and ancient techniques.

Three Selfies

2014

Cross stitch on 14 Aida Linen

The Center selfie was exhibited in the 16th Annual Juried Student Exhibition, Georgia State University, Eugene Welch College of Art and Design and at The Spotlight on Student Fiber Trends at Lamar Dodd School of Art Gallery, University of Georgia.

Old McDonald Had a Farm Baby Blanket

2014

Screen printed drawing from appropriated newspaper image on synthetic fabric treated with heat gun, and free motion embroidery. 

Included in the 2nd Annual MINT Gallery All Media Juried Exhibition: Here to GO, Atlanta, Georgia. Jurors, artists Craig Dongoski and Pam Longobardi.

Shadows Folded

2014

Shadowfolded Silk

22" x 22"

Hand stitched pleats to create a geometric pinwheel path across the cloth.

Normalized Cruelty: Calm Cows Taste Better

2013

Screen Printing and Digital Printing

Each placemat is 14 1/2" x 19 1/2"

Two place settings from the Normalized Cruelty series.

Normalized Cruelty: Debeaked and Diseased for Your Dining Pleasure

2013

Screen Printing and Digital Printing

Each placemat is 14 1/2" x 19 1/2"

Two place settings from the Normalized Cruelty series.

Pumped

2013

Mixed Media, Screen Printing

24" x 28" x 36"

Screen printed faces on recycled cotton breast-feeding pads and cow print on vintage nursery rhyme flannel attached to a Medela Pump 'n Style breast pump.

Silent Spring

2013

Surface Design, Dyeing, Thermofax printing

38" x 44" x 4"

Dyed silk velvet depicts polluted water; silk organza depicts the mosquitoes being sprayed with DDT; and a thermofax printed napkin folded as a paper boat, with the image of Rachel Carson, author of Silent Spring, who exposed the perils of DDT leading to the insecticide being banned from use.

Free Stitch

2012

Free Motion Embroidery, Trapunto

18" x 23" x 1 1/2"

Free motion embroidery on vinyl, silk and cotton. 3-D flower and leaf stitched on Solvy and shaped with some of the residual 'Glue." 

Skin Deep

2012

Sewing, Embroidery

Left to Right: 12 1/2" x 10", 22" x 18", 14" x 11" x 12"

A bib, toddler dress and training bra sewn from muslin and the pages of a book entitled "The American GIrl Beauty Book" published by the Girl Scouts of America in 1954, which is rife with body image issue-inducing advice about weight and body development. The embroidery on each item represents the marks a plastic surgeon makes on a woman's body with a Sharpie marker to indicate location of the liposuction or augmentation.

Three Masks

2011

Knitting, Fulling, Needle Felting

Left to Right: 7" x 20", 7 1/2" x 12", 6 1/2" x 10"

I've been making masks for more than twenty years. What intrigues me about masks is that they both hide and reveal. They may hide the wearer's face, but through the hand of the artist and the actions of the wearer, they reveal something much more intimate and personal than were one to be looking at the wearer's actual face.

Lee's Surrender

2010

Weaving

21" x 21"

A traditional early American coverlet design woven with hand-dyed wool sock yarn on a black tencel warp.

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