Canna Lily, arranged into a tapestry.

Textiles are a focal point in my travels: I seek out ethnography museums, scour markets, study region-specific symbolism, make note of the most oft-repeated patterns. Visually, I love textiles for their tactile quality; conceptually, I love them for their perfect balance between beauty and function; intellectually, and perhaps most relevant to my paintings, I love them because, across nearly all cultures, ancient textiles acted as a way of writing, in that each pattern or symbol had a corresponding meaning. In this way, a textile becomes like a book, capable of telling a story, serving as a talisman with a specific meaning and purpose for your home. 

After visually collecting and taking note of textiles in my travels-- notably in Turkey, Serbia, and Ukraine-- I started using them as a motif in my own work. I love how they create a frame-within-a-frame, how the edges create a second window (after the paper itself) into which the viewer can gaze. I found the tapestry conceit helpful in exploring new ways to enjoy oft-used Louisiana symbols : the repetition, the bilateral mirror effect, the symmetry, all pushed me to re-examine the objects, to think of them as geometric shapes and forms above anything else. 

Size : 7x10”, framed to 10.5x14”.

Materials : watercolor and ink on 100% cotton cold-press paper

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