In my weaving-paintings I explore the relationship between image, structure, pattern, and perception. In these works, I begin by hand weaving fabrics on a loom, which I then stretch and paint in selected areas. The painted portions are directed by the form and pattern of the weaving, much like how the fabric itself is derived from the inherent limitations of the loom, warp, weft and weave structure. My interest in working within a set of limitations is what I find most attractive about weaving.
The painted portions are generated through an additive process of accumulating and organizing shapes and colors, which, in turn, generates the final composition. It is important to me that the viewer can see the individual parts of the painting as well as understand how these parts are organized to create the whole. Although my rather straightforward process is fully exposed, my weaving-paintings transcend material and formal concerns to become experiential objects. The often optical nature of the compositions allows the viewer to consciously flip between different ways of seeing the painting, thus becoming aware of his or her own perception and relationship to the painting.