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LINE DRAWING #1, 1966. "Fireweed Bud" During my first years in Alaska I made many detailed drawings of plants and flowers. Knowing I would want to use them in future art work, I colored parts for future color reference.
LINE DRAWING #2, 1966. "Rose Hip" Some drawings had more color, and notations to give me more information about the specifics of the colors.
EARLY SILKSCREENS #1, 1970. "Flower Card" During my second winter in Alaska I learned to silk-screen, and made cards to sell to tourists. I was able to perfect my registration process and gain experience with transparent colors.
EARLY SILKSCREENS #2, 1972. "White Crown" My silk-screen prints were quite complex, with many applications of color.
EARLY SILKSCREENS #3, 1973. "Denali" This was one of my most ambitious subjects at the time. I was particularly intrigued with the rock-like textures that I was able to use to describe the mountain, river bar and foreground. This rock texture appears frequently in my quilted images.
DOG FUR WALL HANGINGS #1, 1972. "Highbush Cranberries II" The Highbush Cranberry berries are made of yarn spun from hair of a red-headed friend, and couched into place. My husband Bill turned the circular frame on his lathe and assembled it with vertical boards to complete the piece.
DOG FUR WALL HANGINGS #2, 1975. "Spring Run-off" This piece was woven on a simple frame loom with a combination of grey wool yarn, and dog fur yarns I spun myself. The light pieces of "ice" are sections of moose antler.
EARLY QUILTING #1, 1992. "Galaxy" In the mid-80s I had to stop silk-screening because I became sick from the fumes. I did a lot of drawing during this time frame. I started quilting in the early-90s, taking classes from national quilt artists. This piece is an example of color-wash quilting.
EARLY QUILTING #2, 1993. "Spawning Red Salmon" This quilt is a combination of the color-wash technique and “Strips that Sizzle” in the background. Quilting became my media of choice because it gave me an incredible range of visual textures and the possibility of working very large scale.
EARLY QUILTING #3, 1994. "Arctic Lava" This quilt was one I constructed using paper-piecing.
EARLY QUILTING #4, 1995. "Creation" This piece was a private commission, also constructed using the paper-piecing technique.
IMMERSION DYE, 1996. "Variable Star" In the mid-1990’s I took classes in improvisational quilting from Nancy Crow. We cut and sewed fabrics with no idea of what the final product would look like. I was also interested in creating my own fabrics, and took classes to learn immersion dying. This piece was created improvisationally and has many of my immersion-dyed fabrics in it.
SURFACE DESIGN, 1997. "Mountains" This piece was also created improvisationally. I created fabrics for it using various surface design techniques: The sky and mountains were done with shibori dyeing, and the light-colored foreground fabric was painted, stamped, and printed. The dark-green foreground fabric was created by clamping the fabric and immersion-dyeing it multiple times.
IMPROVISATIONAL #1, 1999. "Drifting Forms" This improvisationally-pieced quilt is one of my “Y” series. It was purchased by the University Of Alaska/Fairbanks Museum and hangs in the new wing of their museum addition.
IMPROVISATIONAL #2, 1999. "Emerging From The Embers" This quilt is also improvisationally pieced, with lots of painted and dyed fabrics. It is one of the largest quilts I’ve done, giving me experience with quilting large pieces with a home sewing machine. It is in the permanent collection of the Museum of Arts and Design in New York City.
SILKSCREENING, 2002. "Fireweed Seed Pods" This quilt was part of a series I produced once I realized I could silk-screen images directly on a quilt that was already completely pieced.
REPRESENTATIONAL #1. "Nenana Flats" Gradually representational images began to appear in my work. This piece was inspired by the miles and miles of wetlands visible from the highway around Nenana, as I drove back and forth to Fairbanks for groceries and other town errands.
COMMISSION. "To Everything There Is A Season" This commission gave me experience working on a very large scale with a specific deadline. The size allowed me to experiment with a change of seasons, going from Spring (left panel) to Winter (right panel). It was commissioned by the U.S. Army for the chapel in the Ft. Waiwright Bassett Hospital, Fairbanks, in 2006.
REPRESENTATIONAL #2, 2006. "Glacial Run-off II" In August 2006 I was one of the three artists chosen to be an Artist-In-Residence at Denali National Park. I spent 10 days in a small cabin in the heart of the park--drawing, painting and photographing. It was developed as a whole-cloth quilt with stencils and painting, silk-screening and stamping with dyes. Texture was added with oil paintstiks.
REPRESENTATIONAL #3, 2007. "Polychrome" This piece was developed with stencils, and painting, silk-screening and stamping with dyes. The plants surrounding the landscape would be found in this location in the summer and early fall as depicted.