I submitted 2 recent sculptures to the 2012 “Art from the Heartland” show at the Indianapolis Art Center. It is a biennial exhibition showcasing the work of artists from Indiana, Ohio, Illinois, Kentucky, Michigan, and Wisconsin.

This year the show was curated by Paula Katz, Director and Curator of the Herron Galleries at the Herron School of Art and Design in Indianapolis. She awarded Best of Show, Best of 3D, Best of 2D, and 5 honorable mentions. I won the Best of 3D award for “Black and Blue #2” and “Black and Blue #3.”

Since 2011, I’ve been making 3D constructions of natural rubber–a radical departure from three decades of 2D fiber artwork–using fiber processes such as piecing and hand-stitching. I bind together my sculptures using a basic textile technique: a hand-sewn straight stitch. The form of my rubber constructions develops from the process.

This work is surprisingly organic and soft compared to the hard-edged aesthetic of earlier work. I’m excited about the new direction my work is taking and curious as to where it will lead.



“Black and Blue #2”


22″ x 13″ x 10″

rubber/ waxed linen cord


private collection


“Black and Blue #3”


24″ x 13″ x 11″

rubber/ waxed linen cord


"CrissCrosses," detail

The white dots are the sections on the yarn that resisted dye absorption. These sections were wrapped with plastic tape at irregular intervals and in random lengths before the yarn was immersed in the dye bath.

"Zick Zack," detail

"Zick Zack," detail

The ikat-dyed yarn was tufted into the different shapes in alternate rows.

"Cool Jazz." detail

More  visual texture and richness contributed by the ikat-dyed dots. The complex colors in this piece–the maroons and blues–are achieved through the use of toners which I referred to in an earlier post.

"Blackberry Winter," detail

More complex colors, mottled yarn and ikat-dyed dots in an early piece, “Blackberry Winter #1” (1985). I made three “Blackberry Winter” pieces. Their main structural element is a large zigzag that cuts through the vertical middle of each piece, its zags (elbows) jutting out beyond the edge of the body of the piece giving it an irregular contour. I particularly liked breaking past the edges and made sure these extensions were integral to the composition–not just tacked on for effect.

"Blackberry Winter," ©1985, 73" x 37". tufted wool pile/ cotton backing/ acid dyes/ ikat dyeing