Designing a Series from Rust, Salt, and Time

detail of Sacred Erosion

There’s something magnetic about decay—the quiet beauty in what’s falling apart. When I began designing a series inspired by rusty nails, human aging, transcendence, and salt, I wasn’t seeking perfection. I wanted to touch the processes that change us—the slow oxidations of body, metal, and memory—and translate those into color and texture.

Rust and Aging: Parallel Transformations

Rust is metal’s version of aging: a surface reaction, irreversible, rich in color and history. Like skin, it reveals the story of exposure—oxygen, moisture, time. I found this parallel comforting rather than tragic. Both are marks of life’s presence.

In color, rust became the heart of the palette: iron oxide reds, burnt oranges, and bruised browns, layered over cooler undercurrents of silver-gray and bone white. These tones speak of time not as an ending, but as a continuum. When woven, they shift subtly depending on light—just as skin does when touched by age or emotion.

detail of Selkie

The Texture of Salt

Salt is both preservative and corrosive—a paradox I wanted to express materially. In the textile’s surface, I worked to evoke that tension: coarse linen mingled with lustrous silk, threads stiffened in places by mineral washes, and crystalline patterns emerging like frost or residue.

Transcendence Through Breakdown

Lavender is the color of Transcendence. The palette of violet, rust, and salt moves between matte and shine, opacity and translucence, suggesting the movement between the physical and the transcendent.

In the end, the textiles aren’t about decay or preservation, but about the beauty of transformation—the alchemy of materials that echo our own human processes. Rust, salt, and time each remind us that endurance is not the opposite of change; it’s made possible by it.

detail of Terra Feminarum

Aino's Tresses

detail of “Aino’s Tresses”

The inspiration for my handmade paper series stemmed from the intricate patterns I had been printing on fabric, capturing the essence of ocean surfaces. Eager to explore new avenues for this imagery, I decided to transition from fabric to paper printing, with the intention of handcrafting the paper myself. As a craftsperson, the selection of materials is a pivotal aspect of my creative process. In my exploration, I uncovered the possibility of incorporating seaweed into the paper-making process. The distinct bladder wrack and knotted wrack seaweed varieties are synonymous with the beaches of Maine and became my chosen materials. To bring this vision to life, I arranged for a shipment of these iconic seaweeds to be sent from the shores of Maine to my studio in North Carolina. No seaweed was harmed in this process: what was collected had already dislodged from holdfasts and was washed up on the beach. Special thanks to Noreen Mullaney, Tatijana and the printmaking studio at Western Carolina University, and Melissa Ezelle for her tutorials on papermaking.

First step is to boil the seaweed down

Bladder Wrack (Fucus vesiculosus) is a brown algae that typically grows in dense, bushy tufts attached to rocks by a holdfast. The thallus (the main body of the seaweed) is flat and dichotomously branched, forming distinctive air-filled bladders or vesicles along its fronds. These bladders help the seaweed float at the water's surface, maximizing exposure to sunlight.

Bladder wrack is commonly found in the intertidal zone, where it experiences regular exposure to both air and water during tidal changes. It thrives in areas with moderate to strong wave action, attaching itself to rocks and other substrates.

Like many seaweeds, bladder wrack plays a crucial role in coastal ecosystems. It provides habitat and refuge for various marine organisms, serving as a nursery ground for juvenile fish and invertebrates. The seaweed also contributes to nutrient cycling and acts as a primary producer in marine food webs.

Knotted Wrack (Ascophyllum nodosum) also known as egg wrack, is another brown seaweed characterized by its long, branching fronds with distinctive, swollen air bladders or nodules. The fronds have a knotted appearance, with distinctive constrictions or nodes, hence the name "knotted wrack."

Knotted wrack is a common sight in the intertidal zone, often forming extensive beds along rocky coasts. It has a wide distribution in the North Atlantic and is known for its ability to tolerate a range of environmental conditions, including exposure to air during low tide.

Similar to bladder wrack, knotted wrack is ecologically important. It provides habitat complexity and serves as a substrate for various marine organisms. The seaweed is valued for its role in nutrient cycling, helping to maintain the health of coastal ecosystems.

My paper-making journey with cotton and seaweed from the Maine coast has been another meaningful way for me to connect with my roots: each sheet carries a story of the sea.

Seaweed in the Hollander Beater at WCU

Using the press at WCU Printmaking studio

The Kalevala is a Finnish epic poem compiled by Elias Lönnrot in the 19th century, "Aino's Tresses" refers to a tragic and poignant episode within the larger narrative. The character Aino is the sister of Joukahainen, and her story is intertwined with Väinämöinen, one of the central figures in the Kalevala.

The tale of Aino revolves around a series of events triggered by her encounter with Väinämöinen. When Väinämöinen proposes marriage to Aino, she rejects him. In her distress, Aino heads to the seashore, where she contemplates her predicament. Consumed by sorrow and unwilling to marry Väinämöinen, she seeks refuge in the waters and ultimately drowns.

“All the waters in the blue-sea
Shall be blood of Aino’s body;
All the fish that swim these waters
Shall be Aino’s flesh forever;
All the willows on the sea-side
Shall be Aino’s ribs hereafter;
All the sea-grass on the margin
Will have grown from Aino’s tresses.”

My six-panel piece of printed, handmade seaweed paper is thus titled “Aino’s Tresses”.

Exploring Creative Frontiers: Unearthing Hidden Gems in Ondulé Weaving at Penland School of Craft

Tucked into the rolling hills of North Carolina, Penland School of Craft is an enchanting haven where creativity permeates every nook and cranny. I will be teaching a class at the remarkable place we call Penland next summer (June 30 – July 12, 2024). The topic is the captivating ondulé weaving technique, and the way it presents an opportunity to delve into the realm of off-loom weaving and surface design, uncovering a treasure trove of hidden gems.

Penland campus as seen from the Pines

 Ondulé Weaving: A Technique that Inspires

 At the heart of this class lies the technique of ondulé weaving. Derived from the French word "ondulation" meaning "wave," this weaving method involves creating undulating patterns, and breaks free of the strict grid. From the moment the shuttle glides through the warp, waves form, gradually revealing mesmerizing patterns. As participants engage with this unconventional and captivating weaving style, they tap into an endless stream of inspiration, offering a springboard for imaginative exploration.

 Off-Loom Possibilities: Expanding the Boundaries

 Beyond the loom, a multitude of possibilities await us. This class will encourage participants to set their creativity free, exploring ways to incorporate off-loom techniques into their ondulé weavings. From hand stitching and knotting to unconventional materials such as wire and found objects, the exploration of off-loom elements will add depth, texture, and imaginative layers to the woven fabric. As we step away from traditional norms, we discover the true nature of artistry – pushing the boundaries, unearthing new perspectives.

Penland students share ondulé textiles

 Surface Design: A Canvas for Expression

 In addition to learning the technical intricacies of ondulé weaving, this class will also delve into the captivating world of surface design. Here, participants will discover a plethora of techniques to incorporate patterns and motifs into the fabric. Dyeing, printing, painting, or even embroidery can be employed to transform the fabric into a vibrant canvas, telling stories within the woven waves. Imagination becomes the brush, and the textile itself becomes a conduit for artistic expression.

Student work: ondulé weaving

 The Penland Experience: A Catalyst for Creativity

 Penland School of Craft is renowned for fostering an environment pulsating with creative energy. Founded on the principles of craftsmanship, collaboration, and exploration, the school offers an inspiring backdrop for artistic growth. Participants in this ondulé weaving class will feel the transformative power of this space, surrounded by fellow artists, instructors, and the immersive beauty of the campus itself. Daily interactions, shared experiences, and opportunities to engage with various mediums will fuel their creative flames and lead to unparalleled growth.

 The magic of learning at Penland lies not only in the specific technique being explored but in the limitless possibilities that bloom within its vibrant community. Drawing inspiration from ondulé weaving, and delving into the realms of off-loom weaving and surface design, this class showcases the abundance of hidden gems awaiting us at Penland next summer. As we embrace the palpable creative energy that envelops Penland, we will weave not only with fibers but with passion, curiosity, and the yearning to unlock our artistic potential. Join me on this transformative journey and together let's unleash the artist within.

Lower Textiles, Lily Loom House

Dreamscapes

Introducing "Dreamscapes": A Journey Through the Subconscious

I am starting a new body of fiber art work that I’m thinking about calling "Dreamscapes." This collection will be featured in the upcoming group show, "From Dusk til Dawn," at Blue Spiral 1 Gallery in downtown Asheville, North Carolina in May-June 2024.

Inspired by the ethereal nature of dreams, I have embarked on a captivating journey to collect imagery from my very own dreams. These vivid and surreal visuals serve as an aspect of this series, as I translate them into toile du jouy-type patterns that will be expertly printed onto sections of handwoven fabric.

To truly capture the essence of these dreamscapes, I have carefully chosen a color palette consisting of white, natural tones, blue, and black. This combination promises to evoke a sense of tranquility while also embracing the mysterious allure of the subconscious mind. Texture and mark-making will play a pivotal role in bringing these dreamscapes to life, enabling viewers to immerse themselves in the intricate details of each piece.

Indigo is often associated with intuition, mysticism, and spirituality. It is a color that can represent deep introspection and the exploration of the subconscious mind. When combined with a neutral palette, it creates a contrast that allows indigo to stand out and potentially evoke feelings or thoughts related to the subconscious.

Neutrals, such as whites, beiges, or grays, are often used to create a sense of calmness and balance in a space. This can be particularly relevant when discussing the subconscious, as it is a realm that is often associated with a mix of emotions and thoughts that may need to be balanced or analyzed. The neutrality of the palette creates a serene backdrop against which the indigo can express deeper feelings or hidden aspects of the subconscious.

The combination of neutral tones and indigo can bring forth a sense of wonder, as well as a realization that there is more to be discovered beneath the surface.

One recurring theme in my work is the inclusion of waving horizon lines. These gentle undulations throughout the compositions create a sense of movement and fluidity, mirroring the ever-shifting nature of dreams. By incorporating these lines, I hope to transport viewers to a world beyond our own, offering glimpses of fantastical landscapes intertwined with historical textile patterns.

The ultimate goal of "Dreamscapes" is to evoke a mood that that blurs the boundaries between reality and dreams. As viewers contemplate these art pieces, they will be to transported a space where possibilities are boundless.

Embarking on this artistic endeavor has been a fascinating exploration into the depths of my own subconscious. It has reminded me of the power of dreams and how they hold the potential to unlock endless creative possibilities. Through "Dreamscapes," I hope to invite viewers to embrace their own dreams, to harness their imagination, and to embark on their own journeys through the subconscious.

Intrigued by the notion of dreamscape and the enigmatic beauty they hold, I look forward to sharing this series at the "From Dusk til Dawn" group show. I hope that my art will not only ignite conversations but also inspire others to delve into their own dreams and uncover the magic that lies within.