Hidden Treasures

This piece feels like a story unearthed—half memory, half map. Beneath the painted mesh of color and texture lies a sense of adventure, a gathering of found things that once belonged somewhere else. Dragonflies shimmer over the stitched landscape, their wings built from patience and light. Painted “doors” open into imagined places, while loops of yarn and tangled fibers hint at overgrown paths and hidden relics. Every charm and fragment seems discovered rather than placed, turning the whole surface into a small archaeology of wonder.

Techniques and materials: machine-stitched batik background with stenciling and a hand-painted cheesecloth overlay featuring textured yarns and threads looped onto plastic canvas and sewn to the surface, vintage cloth label, hand-embroidered stumpwork dragonflies (the wings for all three took over twelve hours to make), painted “doors” fashioned from floppy disk parts, and various charms and found objects.

The Field 2

This work unfolds like memory arranged in rows—five quiet horizons layered with color and rhythm. Burlap fences stretch across painted sky and sand, stitched lines carrying the hum of wind and distance. Between them, threads of green rise like new growth, dotted with beads that catch the light like wildflowers. Each section feels both separate and continuous, a slow meditation on pattern, labor, and the beauty of repetition. What begins as structure becomes landscape, and what begins as stitching becomes the sound of open space.

Techniques and materials: machine-stitched watercolor-painted background featuring burlap, painted skewers, hand embroidery, beading, and ribbon clamps with jump rings.

Sacred Circuitry

This piece reads like a system held together by intuition rather than logic—a grid that hums softly instead of locking into place. Rectangular fields repeat and vary, carrying color like stored charge: rust, violet, ember, ash. Lines of stitching move across the surface like pathways or fault lines, suggesting connection, interruption, rerouting. Nothing here is static; each unit feels active, as if information is passing through by touch rather than signal.

The structure evokes circuitry, but the hand insists on presence. Irregular edges, layered fabric, and visible stitch work slow the reading, asking the eye to move deliberately. What might be mechanical becomes devotional—pattern as offering, repetition as care. The work holds tension between order and drift, precision and softness, logic and belief.

Techniques and materials: machine-stitched commercial batik fabrics layered with hand-painted fabric and hand-painted cheesecloth, mounted on Timtex. Hand embroidery and copper foil are integrated into the surface, emphasizing pathways, intersections, and points of charge.

Feathers

Feathers unfolds as a quiet gathering—four related panels arranged edge to edge, their boundaries touching without distance. Across each surface, dark wing-like forms move through a purple field, circling warm, glowing centers. The shapes suggest flight, but also shelter: feathers as protection, as trace, as memory of movement rather than movement itself.

Stitched lines cross the panels like currents or air paths, lightly disrupting the ground. The repetition of form creates rhythm, while variation keeps the work from settling. Seen together, the panels read as a single breath broken into parts—separate moments sharing the same sky. There is a sense of watchfulness here, of something passing overhead and just out of view.

Techniques and materials: hand-painted textile backgrounds, machine stitching, layered appliqué, and beading. The stitched and beaded elements create subtle shifts in surface and light, reinforcing the sense of movement across the panels.