At the Highland Center for the Arts in Greensboro, VT, curated by Maureen O'Connor Burgess, a great show of so many different ideas in vast array of materials. 

This work was featured in this article put out by Saatchi. I am really glad to be include in such a focused article about thread and the tradition of fiber arts done by women.  The conversation around fabric and the fiber arts is gaining ground and interest. 

ART AT THE KENT - Calais, Vermont
September 8  - October 8, 2023
Art in New England

It was so exciting to be part of this exhibition; meeting and working with Nel Emlen, Allyson Evans, and David Schütz was such delight!
​What follow is my statement, a poem for the show.

Announcing this fabulous show at The S.P.A.C.E. Gallery, 266 Pine St., Burlington. It is put on jointly with BAG  (Book Arts Guild of Vermont) It is always a great show as it is an opportunity to see what doesn't get shown a lot - things that live on shelves and in boxes. Books are difficult to show and people don't alway know what to do with them. I am glad to be part of the tradition and show my seemingly awkward work!
Thank you, Pamela Polston, for the great review in the Seven Days of the show.  

​“Family”

Two shapes feature in my work: a loop and a quarter-oval. Both are used to represent humans in an energetic way. A loop also references the mechanics of a sewing machine, which is what I use to compile my collages, and, when a loop is a line, I like how it differentiates an interior and an exterior. A quarter oval shape I see as a part of a whole, which is always searching for connection.
Family and its dynamics guide my work; our ancestry, which seems precious, is continually altered by the introduction of new people into a family (marriage, adoption, divorce, children out of wedlock, etc.) By collaging, I connect forms (or don’t), and the layers of shapes that ensue speak to the complexity of these familial relationships. In addition, I explore a tension that I experience when memories become burdened by personal ephemera. The sentimental action of saving letters and photographs raises such questions; do memories need a photo or a letter to anchor them and remain valid? Is there a point in saving what nobody seems to want? Through repurposing old artworks in combination with found objects (which include old book parts, family letters, surgical masks, used clothing, photographs, and residues from making art), I see transforming the artifacts - rather than preserving them - as a nod to my grief and acceptance that memories change and get lost over time. I seek to have memories become unencumbered - a notion I get more familiar with as I do the work and repurpose more family letters and photographs. The titles of my work are usually found within the work; old book pages and cut up letters provide a multitude of textual options.
View Works Here

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