To me, weaving is a metaphor for the joining together of the past and the future, of ideas and cultures. The process of making cloth is also a physical representation of the way I learn and create. The warp is the basic outline or framework of a new idea based on past experiences and information. The weft represents my curiosity and my love of challenge; given this warp and the physical restrictions of weaving, what would happen if I did this or how could I make that happen? The cloth itself represents the continuous, interlocking threads of thought that lead me on to the next question.

To document my ideas about process, continuity, memory, universality and accessibility, I have produced a series of scrolls or samplers representing the weave structures, fiber combinations and finishing methods I've explored. The long, narrow cloths reveal each design in its context as part of everything that came before it and will come after. Because the different structures react so differently in the finishing process, the challenge is to design, arrange and finish individual samples that can stand on their own but still relate to each other as a whole, all in the context of single warps.

The concept of a sampler is both a reminder and record of stitches and patterns, and an experimental exercise for learning and practice. The physical act of unrolling a scroll also reflects the idea of time and a narrative process. The narrow width of the pieces is meant to represent the single thread that can become so much more, and to distinguish with cloth from commercial yardage.

I want to pay homage to the cloth itself and not just to a vision of what could be made from it. My hope is that viewers will acknowledge and appreciate the structure and construction of cloth: to recognize its gestalt.

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