Click on thumbnail to view details
Mixing Traditions (Series)
Rambunctious Birds
Sea Bottom
Klee's Hen and Chicks
Tree of Life
Las Sillateras
Plaid Birds: Panama Mola 1
Snailhouse in Browns: Hmong Pa Ndau 3
Laotian Countryside
South African Women
South African Village with Golden Rain
Orange Flora for Kaffe Fassett: Panama Mola 2
Lily Pads on Circle Batik: Panama Mola 3
Loca Mola (Crazy Mola): Panama Mola 4
Six Pods: Panama Mola 5
Eight Pods: Panama Mola 6
Japanese Fishing Village
Memories of the Embera Homeland
African Sampler
Black Africa
Equadorian embroidery for Jessy
Equadorian embroidery for Barbara
Series Statement:
A fact of quilting history is that quilters can often be identified regionally by the patterns they use. Themes have always developed from the familiar environment of the crafts person. San Blas molas and North American quilt patterns are no different except that the San Blas women have used many more sea related designs than the North American women living in the plains.
<br/>Since exchanging life in Southern Illinois (US) for one in South America in order to work at a US Binational Center in Medellin, Colombia, I have lived a mixed life culturally. It is natural that I would mix textile and craft traditions from both continents as a quilt artist
<br/>My comparative studies of patterns and symbol use in contemporary arts have led me to Paul Klee and other artists who use personal pattern and symbols. Now I have many more conections to mull and 'mixes' with which to experiment visually.
<br/>I must confess my real 'aha!' moment for work based on mixing traditions came when I saw a work in Ruth Witmer's quilt shop in Intercourse PA that combined an Amish diamond set with four 'pa ndau' appliques - the joint project of a Menonite and a Hmong quilter. It was the first quilt I ever bought.