For the last twenty-five years I have been creating wall pieces which consist on hand-dyed, pieced and quilted silks. I use a contemporary interpretation of the traditional Japanese dye technique called arashi shibori in my work. Originally arashi shibori was created by wrapping and compressing fabric onto long, polished wooden poles. It was then dyed indigo for use in kimono construction. The threads used to secure the fabric to the pole and the manipulated pleats created an intriguing arashi resist pattern that literally translates to “storm” in Japanese due to its resemblance to wind-driven rain.

I have developed a unique version of arashi shibori that involves ironing intricate pleats into pre-dyes black silk. The pleated silk in then wrapped around a clear glass bottle, secured with fine thread and dipped into a bleaching (discharge) solution. By varying the pleats, the tension f the thread and the duration of tine in the discharge, I can achieve innumerable variations of distinctive resist patterns on the silk. After the black is discharged, but before the fabric is removed from the bottle, subtle gradations of dye can be applied. Then the shibori-dyed silk is unwrapped and ironed smooth, the hidden layers of pattern and color are finally revealed.

I work intuitively, in both dying and piecing, and use stitching to ass surface texture and to define elements in the design. I find inspiration in the world around me, from wave patterns in the sand to bare branches against a winter sky. Several years ago I became fascinated by the mysterious beauty of northern California’s coastal marshes. My current wall pieces are inspired by the interplay of light and shadow that occurs along the pacific coast as fog descends or dissipates in the sun. I liken the elemental quality of my wall work to the Japanese haiku; poems whoosh evoke memories, emotions and imagery through a few essential, carefully chosen words. Just as haiku often have different interpretations I hope that the meditative quality of my pieces encourages viewers to draw upon their own memories and experiences when contemplating my work.

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