It's 2017 and I'm turning 90 this year. As I move ahead with my work, I also reflect on my inspirations and beginnings. I've lived most of my life in an urban environment and find that the grid of New York City's streets and the regularity and repetitiveness of the building facades has become part of my DNA. But for those willing to look closely, the city also offers an endless array of distinguishing detail. Changing light is filtered through narrow shafts between buildings and through the leaves and branches of trees insistent enough to thrive here. Taxies and buses, crowds and solo walkers insure a constant animation.
These elements, the grid and the variety of detail, were also an important part of my early work with fiber and textiles, a first love that continues to engage me though I've moved from yarns and fabric to copper and steel.
I now use industrial materials, primarily narrow gauge wire, with traditional forms of weaving and knotting to create two and three-dimensional structures and textiles. Even as I create my drawings in metal, I'm fascinated with the interlocking lines and the spaces they form.
Lace-like layers allow for transparency, the passage of light and the formation of shadows. In other works multiple layers become almost opaque. Lines cross and re-cross to create a complex fabric and a lively tangle of light and shadow.
Works become a study in paradox offering an appearance of delicacy and fragility juxtaposed with the strengths of the steel and copper wire employed in their making.