Pattern, as an abstract system, is a source for meaning in my work. With roots in nature, culture, and process, networks of motifs provide beauty, function, and a platform for poetic association.


Visual ideas are generated on the computer. The compositions evolve from a template of simple geometric shapes that have been sub-divided into smaller units. Through a sequence of improvised selection, new configurations are revealed, that in turn, form the foundation for successive layers of patterns. Other networks of motifs and lines echo or embellish this framework, gradating in scale or density to enhance the directional and spatial dynamics of the field. All are orchestrated to develop relationships between the center and the edge – the finite and infinite, the mystery of illusionistic space, and the flat patterned plane.


The loom, as a tool, systematically organizes the threads framed within it’s structure. From the simplest of patterns to the larger geometric repetition, the mechanical operation of the loom provides a foundation upon which the composition is constructed. The complexity of shapes and compositional dynamics are influenced by the loom and the extent to which the computer may be integrated in the design process. In other words, the method of making affects the formal qualities of the piece – as in the shape and size of the mark, the extent of the details, and the physical textures.



The hand woven computer dobby pieces retain a resemblance to the digitally rendered design, although, many of the compositional movements or motifs determined on the computer must be brought into being by careful and practiced hand manipulation of the materials. Patterns painted on the warp are intuitively composed and provide a contrast to the mathematical precision and mechanical regularity of the weave structure. These polychrome threads are interconnected with weft threads of contrasting weight and texture in the creation of a tactile plane.


The digital single thread control hand loom provides the unique opportunity for combining refined digital design with material flexibility. In my work this freedom is emphasized through a sensitivity for the integration of the graphic and haptic and a recognition of the connection between touch and technology.

Hand weaving is meditative in it’s repetition, like breathing or walking, connecting the subconscious mind with the body. The rhythm of the building process echoes the slow continual growth and movement in the natural world around us, and is reflective of the cumulative effects of time in space. Remaining present to the activity of making allows me to develop a stronger relationship with the work under construction, enhancing my sensibility for this distinctive language in a concrete and poetic way.


The power loom jacquards, are woven on large industrial looms made accessible to the artist through digital technology. The loom and the personal computer can be linked through coded/programed information generated through the use of certain image based software. Pixels viewed on the computer monitor correspond to the intersection (matrix) of threads on the loom and, as such, provide the blueprint for the woven output. A palette of color or value is determined through the calculation of weave structure formulas which represent the interlacement of threads on the loom. The nuance of detail is a distinctive attribute of these weavings with high thread counts.