2009, #3 in Fly Over Land Series, each quarter 18" square and mounted individually.

This started out as only one section, the lower left. I realized I could continue the design and made three other squares that all work together.

2023, 18” x 24” I was invited to be part of “Magnificent Bugs in Rugs” by Leslie Knight and Yvonne Itten-Scott. I chose the Spotted Lanternfly… so beautiful and yet so damaging.

2012, 19.5” x 30”, I was living next door to the Pollock Krasner House on Long Island and thought it would be interesting to use bleach on a hooked rug, as Pollock had used paint. Before I applied the bleach the various blacks reminded me of Rothko. I made a black “hole” as each man fell through one.

2019, 44” x 40”, I saw the saying on a piece of Torquay pottery and thought it particularly appropriate for the political climate in the US.

2013. Each square 10" x 11" allowing for flexible arrangements in quad or line. The intent was that the black “roads” had to line up with the next square.

2008, 18” x 26”, I was invited to participate in “Stripes” a selection of hooked rugs made by American and Japanese rug hookers for a traveling show. (Private Collection)

2002, 30” square, I remember this ditty from my childhood… I’m told it wasn’t said to me, but why do I remember it so well? The light side includes many aspects of my life, the dark side is made of random lines. I found that I like the colors and design of the dark side best, perhaps even our darker sides have aspects of value?

2008, 26” x 33”, this was done before the Land Parcels Quad. Hard to see is that there are two wedges in relief on the center of the left and lower sides. I also tried using a different technique called punching… didn’t really like it.

2002, 18” x 28”, this is my sister’s Springer Spaniel in a rare still moment. I don’t often do representational work, but was taken with the photo of him resting on an old wicker chair on the porch of the cabin.

2024, 12” square, I made the small sweater in the mid 1970s with a full size vintage pattern from the 1940s using size 1 needles and vintage cotton crochet string… hence the stains. I had it hanging alone and thought it suited for a Rock Square. It is one of the few that has a meaning… it is an homage to Virginia Woolf. She walked into a river near her home with rocks in her pockets. The red behind the sweater is symbolic of a setting sun or halo.

2020, 12” square, the lace like ring is a failed crocheted necklace… it hung like a damp washrag. I used fake flowers and plants that had fallen apart… I fully enjoy using things that might otherwise be tossed out.

2023, 12” square, this was made shortly after a trip to Ireland with rocks I had collected in Kinsale on the Scilly Walk. I was told the arrangement was reminiscent of St. Brigid’s Cross, so it is, but totally not conscious of it in the making.

2024, 12” square, this is another with a meaning. My late husband, Monty, loved doing the NYT crossword puzzles. I made beads of the puzzles, others have his handwriting in the squares (those I made into necklaces). I made many beads and it is happenstance that I found the two beads at the top that butted together to read New York Times.

2015, 8" square, I have had horses, they are magical to me. I wanted to include this pattern in my book using a combination of techniques.

Pattern included in Coils, Folds, Twists and Turns: Contemporary Techniques in Fiber, see Books.

2015, 8” square, this is the cover project for my book Coils, Folds, Twists and Turns: Contemporary Techniques in Fiber.

2015, 12” x 15”, this is lengths of folded fabric wrapped around in a random manner and stitched with some coiled pieces used to fill in gaps and along the edge.

This project is in my book Coils, Folds, Twists and Turns: Contemporary Techniques in Fiber.

2016, 18” x 36”, this was made for a juried exhibit, but alas it was rejected. I enjoyed making the coils and nestling them into the shirred fabric.

2011, 29.5” x 31.5”, I left some of the linen foundation exposed, one side had been color treated and the other not (at the top). Some of the fringe is from the edges of the linen.

2011, 9” x 9” x 3”, this was part of a juried show where all the entries had to be in a box that was 9×9×3. I entered three, two got in, I don’t think this was one of them. Again I let some of the linen foundation remain exposed.

2015, 20” square, I knew that when bleach is applied to black t-shirts they will change to various colors… I had no idea what colors I would get. I like the ragged edges as well and left them untrimmed.

2015, 20” square, I knew that when bleach is applied to black t-shirts they will change to various colors… I had no idea what colors I would get. I like the ragged edges as well and left them untrimmed.

2013, 30” x 36”, I knew that when bleach is applied to black t-shirts they will change to various colors… I had no idea what colors I would get. I like the ragged edges as well and left them untrimmed. I made the smaller piece first, but it didn’t look right so small, so alone, then I made the larger piece for it.

2014, 20” square, I knew that when bleach is applied to black t-shirts they will change to various colors… I had no idea what colors I would get. I like the ragged edges as well and left them untrimmed. I used the Pollock technique of pouring and flicking bleach across the t-shirts, then I added sequins and embroidered circles.

2012, 27” x 42.5”, I knew that when bleach is applied to black t-shirts they will change to various colors… I had no idea what colors I would get. I like the ragged edges as well and left them untrimmed. Here I used a stamping technique with items of various diameters.

2026, 12” square, I knew that when bleach is applied to black t-shirts they will change to various colors… I had no idea what colors I would get. I like the ragged edges as well and left them untrimmed. This had embroidered black thread circles and beads applied.

2015, 20” square, I knew that when bleach is applied to black t-shirts they will change to various colors… I had no idea what colors I would get. I like the ragged edges as well and left them untrimmed.

2025, 20” square, I knew that when bleach is applied to black t-shirts they will change to various colors… I had no idea what colors I would get. I like the ragged edges as well and left them untrimmed. This had embroidered black thread circles with sequins and beads applied.

2026, 12” square, I knew that when bleach is applied to black t-shirts they will change to various colors… I had no idea what colors I would get. I like the ragged edges as well and left them untrimmed. This had embroidered black thread circles and beads applied.

2020, 12” x 15”, this received Best Sculpture Award at Guild Hall (East Hampton, NY), by the associate curator for the Guggenheim Museum, even though I’d entered it in the Mixed Media. The juror is allowed to change categories as they wish. The reception was March 7, 2020… 11 days later everything locked down and we were not allowed to reclaim our art works until September.

This was likely the very first rock piece I made. I found this rock broken in the road and took it home.

2010, 13” x 15”, I wanted to combine all sorts of techniques in odd ways using one color, thinking that using many colors would make it too confusing. I’m not sure of all the techniques I used, but they climb over/under each other and twist about. It’s very satisfying to run my fingers overthrough it… though touching any artwork is to be highly discouraged unless given express permission by the artist.

2010, aprox 24" x 21" x 11", I went through a kick of wrapping sticks and vines with cotton fabric. The piece with wrapped vines no longer exists.

The egg is hooked, the “yolk” is micro fibers, I was making a comment about the damage that we were (are) doing to the environment with all the plastics we consume and toss. This suggested that covered in unnatural materials the egg cannot survive and broke open revealing that it is also made of micro products.

2026, 69” circumference, 1475 coils, I found this large mixing bowl on the side of the road. After passing the bowl for a week I decided to pick it up. It was badly smashed, I had an auto collision place hammer it back in shape. I had tried, but my hammer just bounced off it. I proceeded to glue on all the coils I had randomly been making for quite some time. the white line of coils is a “strand of pearls” that are draped over the bowl. I wanted some kind of design on it.

2010, apron knee high?, I was invited to participate in the Jack Lenor Larsen LongHouse Planters On and Off the Ground. I had seen a stack of rusted metal shelves while out riding my horse and decided to pick them up and bend them into a planter. I used delicate flowers and plants that I knew would look better as the summer went on… the exhibit was outside for three months (or so). I was awarded an Honorable Mention. The following photo shows the piece later in the summer.

2009, 20” square, made using wools that were hand dyed, not by me. I had intended to use them for hooking, but thought them too nice to cut up. The small horse in the upper left is Arrow, my first horse, he is done in reverse appliqué, as he is on the other side, no longer with me. The other horse is Fifty/50. He wasn’t feeling well and I was afraid he was slowing entering the circle… once fully inside he would be gone as well. However, he rallied and was with me for another four years. I had both horses for 18+ years each and they both lived to be 32 and 33.

2008, 41” x 38”, this was my interpretation of a Native American piece to honor my horse. I used a full chamois I had purchased many many years before. Powdered paints colored around a cut out of my horse’s out line (Fifty/50) and along the edge of the chamois. I had 29 cuts of hair in metal cones to represent how old he was. In hindsight some of my choices may not have been wise… is it too much an appropriation? Do the hair bundles look too much like scalps? I did it to honor him and in appreciation of Native American art and the history of how the horse changed their lives.

2010, they are easily an inch around and rather bulky. I saw something like them in Vogue and thought to try knitting them with a pattern and beads with metallic looking yarn. Impractical and time consuming, but why not?

2013, 17” x 25”, I had a trunk of fabric that got musty and mildewed…. what a mess. Most I had to toss, but some I decided to wash and dry and see what was what. Some pieces came out looking rather interesting. I beaded an outline and embellished with feathers and horsehair.

2014, 30” square, I often make small knitted squares and strips just to see how a particular yarn or combination of yarns looks. Then I decide to join them together. I was pinning this together to seam up the last sections when I thought it looked interesting with little gaps between the pins… out came the cover your own buttons and it looks much more interesting.

2014, 20” square, in my restoration work I ended up with lots of paisley shawl remnants. I made a patchwork of squares from and of them… oh my what a lot of work that was, but I wasn’t satisfied, so I beaded in a cobweb in one of the corners. They were worn in the Victorian era, which was also when Crazy Quilts were popular and a cobweb was a regular embroidered design on those quilts.

2014, about 12” tall, I collect bones, feathers and shells when I go for a walk or ride. I got the idea to bundle them together.

2014, about 12” tall, I collect bones, feathers and shells when I go for a walk or ride. I got the idea to bundle them together. This one I still have which is why I know what the number is.

2014 , 8.5” x 12.5”, I love the soft blue in the shells and the fabric was some I’d saved when I had a trunk full of fabric that molded and mildewed… I saved some and rather like the damaged looks. I think these shells were gathered on Fire Island.

2014, 8” x 24”, shell shards worn so smooth that they are a delight to just rub between your fingers, gathered on Fire Island.

2011, 32” x 16”, while moving I came across canceled checks, so nice we don’t have those any more. I thought shredding them was the best way to go, but then I loved running my hands through the bag of shreds. Hmmm, what if I stitched them onto fabric? Let me use the colored checks for a design. This was around the horrid recession and the yellow is a giant question mark as so many had no idea what was going to happen. I then found some shredded dollar bills at a party store and wouldn’t they look cool hooked around the edge? All mounted in a lucite box as any bumping and rubbing (people always want to run their hands all over fiber work) would have caused them to fall off.