In 2017, I expanded my repertoire of sewn bird portraits into a larger family, forming the ancestral figures in my piece titled "The Genealogy of My Imaginary Family." This composition was created specifically for the "Birdland and Anthropocene" exhibit at the Peale Museum, where it filled a prominent display case.

Comprising 13 freehand machine-stitched bird portraits, ranging from 3" to 14" in size, the canvas-stretched circular hooped birds collectively resembled a genealogy tree reflecting diverse human personalities. The selection of native birds, spanning from the familiar to extirpated breeds in Maryland, aimed to evoke a sense of familial connection. The arrangement of these portraits tells a nuanced narrative through subtle expressive reactions and silent dialogue, akin to family portraits.

Each bird portrait was meticulously crafted using freehand machine stitching, a method of manipulating the canvas under the moving needle to draw every mark, value, and detail. The labor-intensive process resulted in line drawings that served as a dedicated homage to the preservation of these avian species.

Since the creation of this piece, my "family" of bird portraits has continued to evolve. The portraits vary in shape and size, from ruff to helmeted guineafowl, and from profiles to full-body representations. The transition from black thread to a spectrum of colors adds depth and vibrancy to the ongoing series. In 2023, I introduced these bird portraits as collaborators within scenes found in toile fabrics, further expanding the narrative and visual richness of my evolving avian family.

Check out the show  here for the Birdland and the Anthropocene catalogue 
  

A series drawings of  plants found in native and planned gardens in the UK as well as the US.  These are my ink drawings from observations that I use for my freehand machine stitched drawings on felt. I started to use these as part of my bird women pieces and pillows, decor pillows, wall pieces and accessories. I am currently working on a new series of accessories ( zipper and eye glass cases) that feature medicinal and symbolic plants and herbs that are beneficial to our planet as well as ourselves. 



 

The exploration of figures in thread has been a central focus of my artistic journey since my inaugural piece, "Girl with Bird," in 2014. To maintain and enhance my drawing skills, I engaged in figure drawing sessions at the Maryland Institute, College of Art. Drawing inspiration from the female figure as a potent means of expression, I naturally transitioned to challenging myself by stitching figures on my sewing machine.

"Lost in Collaboration" marked a pivotal moment for me, feeling like a true homecoming. This piece seamlessly captured the layered approach reminiscent of my painting days. The collaboration between figures, birds, and patterned backgrounds rekindled the essence of my past as a painter. Drawing parallels with my earlier practice of painting wallpaper backgrounds, I translated the layering of line work, color shaping, and playful opaqueness into the realm of fabric and felt.

The two studies of women, inspired by works by Richard Diebenkorn, represent a departure as they incorporate felt into the background for added color depth. This experimentation with felt adds a tactile and visual dimension, further expanding the expressive possibilities within my exploration of figures in thread. The evolution of my work reflects a seamless transition from traditional drawing to the intricacies of stitching, capturing the essence of collaboration and layered narratives.

My exploration of overlaying lines traces back to the early nineties, inspired by the captivating work of David Salle. Salle's ability to prompt viewers to discover new dialogues within overlaid images and his adept use of juxtaposition left a lasting impact on my artistic sensibilities. During this period, marked by introspection and a quest for my artistic vocabulary, I delved into soul-searching and sought inspiration from childhood textbooks and found imagery.

In my early paintings, I embraced the technique of projecting images, playing with textures, and overlaying images and color. The projected line, in particular, became a meditative and labor-intensive aspect of my work. This technique persisted throughout much of my painting career, allowing me to express complex narratives through the layering of visual elements.

The parallels between my painting and fiber work became apparent as I continued my artistic journey. In my fiber art, I draw on the traced line, overlaying it onto the pattern, and integrating it with the color shapes of fabric and felt. This approach, reminiscent of my earlier painting technique, signifies a seamless transition in my exploration of overlaying lines, demonstrating the enduring influence of David Salle's innovative use of juxtaposition and layered imagery.