Creating fine art tapestries became my vocation in retirement, when I could dedicate the time needed to make tapestries.
I work on my designs using drawings, paintings, collages and photographs that I take. I use this initial composition as a guide in creating a tapestry – usually in the form of a cartoon that a weaver follows. While initial design provides overall composition, the actual process of weaving brings the tapestry to life. In my case, an actual tapestry design starts with a weaving process itself, the selection of yarns and colors for the tapestry. As I start weaving, I am barely following the cartoon but interpreting it during the weaving as I continue to discern about the theme. This is a very personal dialogue between the weaving and the weaver. The final product of such intimate conversation is a concrete object: a fabric of the artist’s narrative – an actual tapestry.
I weave tapestries in silence, freeing my mind of everyday noises and committing myself fully to the process. Weaving compels constant decision making which requires the artist’s presence in the moment and results in a unique, one-of-a-kind tapestry. It is a very rewarding process that, on a personal level, makes me even more appreciative of handwoven tapestry as an art form.
Since making a fine art tapestry is often a long process, the tapestry narrative can be seen as a sequence of creative moments that the artist shares with a viewer. Sometimes this is not obvious since the viewer does not experience actual weaving. Yet, the tapestry stands with its own narrative as a witness to human thought, telling its own story.
I create abstract and representational tapestries. In both cases I look into the representational intersection of geometry and color.