In my recent work I process my fear and confusion about our rapidly changing natural world and global climate, and the disasters that have resulted. I’m exploring the ways society contributes to its own destruction, as well as many people’s denial that this is happening. Yet not all is lost. My art explores this hazardous situation, weighing the hope of science and technology and the balm of religion and spirituality against the destructive forces of nature and humans.

Though my ideas are sometimes abstract, I ground them in real imagery and specific techniques. Antique textiles often serve as the visual springboard for my work, giving it a rich visual and conceptual backdrop, rooted in history. I look for patterns that catch my eye and work them into unique and abstracted “landscapes” into which I weave favorite shapes and images drawn from various personal interests such as ecology, cartology, mythology, and biology. Sometimes I work from aerial photographs instead of textile designs. These photos allow for pattern just as the textile designs, but they emphasize the landscape. Typically I choose aerial photos from the aftermath of natural or man-made disasters.

I then incorporate figurative elements or other symbols, usually line drawings that interact with the landscapes. The figures come from multiple sources that reference history, pop culture, or other art, and the symbols are often adapted from more esoteric sources, such as sacred geometry, physics, the occult, religion, or international safety symbols. Underpinning much of this are mythological archetypes that to me epitomize our human naiveté and hubris. I want to suggest an iconic and alluring narrative that is opulent and lush but that reflects the complexities of modern life.

My work reflects my frustrations, fears, and anger about an uncertain future. I feel impotent in the face of so much change and destruction, and my art becomes a repository for these thoughts, buoyed by a little wisp of hope like a prayer or a wish.