In this piece, which was part of my collection studying hyphens “Between Worlds” I pose the question, what becomes of the two things meant to be connected? In math, we use the same symbol to subtract, to take one entity from another... in this piece I wanted to explore whether a hyphen, when used between such opposing spaces actually adds or subtracts from the whole picture.

One of few customisable pieces, the orange and grey blocks can be adjusted to other colors

In this piece, I wanted to give a plainness to the hyphen to accentuate its often fickle application. (SOLD)

A commission from Ice Breaker this piece hangs 47” x 29” and is a portrayal of Onetahuti beach in New Zealand 

Mixed synthetics, roving, rope and leather. Copper dowel.

44” x 24”

A lesson in letting go; I created this piece with the desire to explore tension, density and physical force. What can a piece endure during its making that is visible once it’s done?

Natural wool, Butcher’s string and wood dowel.

39” x 29”

Pictured here in the making, I started this piece with the Tree of life firmly in my minds eye, in the center of the piece you see the Tree pulling out of the tapestry, asking for you to touch it. The almost singular use of color was a deliberate ploy so the viewer, sees everything around the Tree with the same importance as the Tree itself.

I have mixed emotions when it comes to Copper. For this piece it was rigid, stable, strong. For “What Binds Us” I knew that over time when the luster fades, the complexity in its appearance would be even better than the shiny out-of-the-box look it has in this image.

Sometimes when you place too much pressure on a situation, it can distort, and shift things in ways you hadn’t anticipated. Probably one of my favorite parts to any one piece this element shows exactly the idea that what brings us together can be disharmony and chaos as much as it is peace and joy.

Natural and recycled fibers, hemp and cotton

96” x 10”

This picture is a mere sliver of the longest piece I’ve ever made. A 2 inch representation of a tapestry measuring almost 8 feet in length. It was created with nothing in mind but the 3 year old muse who had demanded its making.

Named after the fact, this piece hangs in our Master Bedroom, by merit of being our true favorite.

Fine linen and Mohair.

33” x 30”

A commissioned piece, this one was a test. A simple design that required patience, analysis and isolation. Each thread agonized over until finally it was finished. I’m not sure I ever really found a rhythm with this one, but that’s what the design was named, and in a way, the name seems fitting in the end.

Here in progress, this took 3 weeks to complete and over 500 yards of materials.

Sometimes the idea of what binds us is fraught and loose as if there’s no adherence, but there all the same. I wanted to show that idea in opposition to the tense and tight stitches in the rest of “What Binds Us”.

in the making here in this shot, the middle section takes its form.

A shift in perspective; what is the foreground here, what is not? This will remain a mystery to me both in how I arrived at this piece and why I’ve come to see it with renewed eyes nearly every time I look at it.

So little art is created with the intention of moving, bending, erring to the wind, fewer still that hold a scent, the aroma of a farm or take on the scent of burning sage or incense. This evolution of tapestry is what makes creating them so vulnerable, you cannot always control its fidelity.

Cotton, silk, roving, mohair and wool

48” x 36”

This was a commissioned piece inspired by the light shafts seen in Lower Antelope Canyon, AZ. The swirling shifts in light, shadows and darkness created shapes reminiscent of what a surfer might see when they glide out from under the wall of water suspended over head. The eponymous Green Room.