My quilted wall hangings consist of layers of the following techniques: appliqué, reverse appliqué, piecing, natural and synthetic dyeing, needle-felting, hand printing, and a variety of embroidery stitches. There is an overall balance between hand and machine work. Tools I most often employ include a household-use Kenmore sewing machine, chalk, needles, rulers, compass, staple gun, and scissors. I do not use a computer or any imaging software in my work and I try to use hand processes and tools as opposed to electric. By incorporating vintage kimonos, upholstery remnants, and many other secondhand materials, the works are in keep with the quilt tradition of recycling.
My current thematic focus is the ways in which people impact their environment and, in turn, how the environment affects people. The pieces are influenced by aerial photography, maps, and satellite imagery, but are not always based on specific places. Mining, agriculture, water use and treatment, nuclear power, residential development and oil extraction are frequent subjects of my work, and are meant as visual reminders of the changes we create in the land. Similarly, components of my work demonstrate the influence of nature on our constructs, such as a river changing its course, thereby causing a shift in property divisions, and shifting coastlines due to climate change.
It is the use of maps in organizing our ideas of land that interests me most of all. Often, people ask me for specifics about the places and symbols in my work. Most of my pieces are not based consciously on specific places. For me they are intimate explorations of map language and imagined landscapes. Through my research and experience, I have decided that maps create more questions than they answer.