Things have been quite busy in the studio and I realize I have not posted since November of 2018!  (Again, best laid plans – I am beginning to see pattern here (wince)!)  However, after this little update, I have some natural dye reflections I initiated back in March and never got around to publishing, among other things.  As “archaic” as this format sometimes seems, it still has relevance across the spectrum. For me, it serves a real purpose, which I had lost track of for a spell but now reclaim: writing as process-witness.

My practice continues to evolve.  Two full years after a cancer diagnosis and subsequent treatment, I never thought I would find myself in a hopeful place around my studio work…but I do again.  I finally found my way back to the heart of the work, to my true flow, and that feels pretty fabulous.  The work begins to look and feel different to me although clearly on the continuum of a process begun so many years ago.  And while I have never been one to rest too long on one technique – I am sure that is my Aries nature – I am still working with cloth and fiber because there is still so much there to explore!     

So, before I resume essay-esque pursuits, I thought I might just provide an update for the record – a brief flashback to the first several months of 2019 as a way of clearing the way for whatever is to come. 

January: Lots of natural dye experimentation – mostly direct application and immersion variations with indigo, madder, tannins and ferrous after-baths.  Began working on my new wearable collection for the April open studio.   I also began experimenting with alternate hand-stitch processes which have now been incorporated into some of my wearable work.  In the midst of the studio experimentation, I was immersed in preparations for a presentation on Sustainable Making at the Southeast Fiber Arts Alliance.

February:  I continued working with natural dyes, mostly direct application with gum thickeners, exploring layering of color and assistants in various floating (unregistered) patterns on a wide range of cloth surfaces.  The process of working with natural dyes is much more labor- and time-intensive than working with their synthetic alternatives and because of this, the work feels almost contemplative.  I want to explore this entire complex topic in future posts.  But for now, suffice it to say that natural dye print processes are now a solid part of my studio practice.  Also ever-present now is my organic indigo vat, and I did get around to making some new pieces for a local craft pop-up and the first installment of the 2019 wearables.

March 2019:   My time in March was largely spent preparing for the April open studio, although I did take some time to facilitate an indigo-dyeing mini-workshop at the studio one fortuitously-gorgeous Spring morning.  I also received my copy of The Art and Science of Natural Dyes (yay!) and reflected on my early exposure to natural dyes with Catharine Ellis which work has so thoroughly enriched my current studio practice.

In April – I hosted an open studio and continued to develop more work, including a new collection of totes, as well as naturally dyed cloth, and stitched appliqué detailing.   All of my wearable work is presented under the label Petal-una Collection.  This line has been an active focus of my creative energy since 2012.   If you want to learn more about it and see more looks follow this link.

All of which brings me to the present moment.  I will save that for next time!  Meanwhile for fairly regular and consistent check-ins, I am on Instagram and FB – the links are scattered throughout this website.   If you would prefer to keep up via this blog, that is awesome too!

Thank you for following along.