The three tapestry series presented in slideshows express the world of interdependent relationships from the experience of being a part of it. Weaving’s integrative technology doubles as a medium for joining threads—the textural structures of which are akin to a Braille system for reading unseen unifying rhythms and patterns. I use the sensory vocabulary of weaving to animate understanding—artistically, a deeper relationship, where part and whole are the same.

The three tapestry series presented in slideshows express the world of interdependent relationships from the experience of being a part of it. Weaving’s integrative technology doubles as a medium for joining threads—the textural structures of which are akin to a Braille system for reading unseen unifying rhythms and patterns. I use the sensory vocabulary of weaving to animate understanding—artistically, a deeper relationship, where part and whole are the same.

My weavings are presences rather than wall hangings. They stand in for the invisible weavers of the web of life who often do not consider their work important, or even something called work.

Being an artist, I have the same relationship with what I do—it is not work. I use my art to animate experiences of the unseen through structure, pattern, and concepts—they are all of a piece, a whole integrated life / self-experience.


My weavings are presences rather than wall hangings. They stand in for the invisible weavers of the web of life who often do not consider their work important, or even something called work.

Being an artist, I have the same relationship with what I do—it is not work. I use my art to animate experiences of the unseen through structure, pattern, and concepts—they are all of a piece, a whole integrated life / self-experience.


As a weaver, I became aware of two recurring themes as I wove, as if the process was communicating these. The first was in the form of a focus—to always ensure the integrity of a whole integrated fabric. The second theme pertained to the way a weaving grows. Individual threads of a cloth evolve along with the development of the whole fabric. I use journaling to develop my ideas.

Silent Oratory: A Weaver Speaks Series

The 7 weavings in this series express the sacredness of life with the language of texture, structure, color, and pattern. Like a flower’s beauty, requiring no words of explanation, a sacred message is palpable as it filters in between the rows of connecting strands. The theme of each weaving re-interprets a world mainly understood with removed scientific views. It’s referenced by all that becomes important or apparent when one experiences being a part of it. Consider purchasing my book Silent Oratory: A Weaver Speaks, which is a companion to the tapestry series.

Life-Weaving Tapestry Series

The 12 highly textured tapestries are woven diaries I kept over a period of a year. I imagined the patterns, which I call the grid, flow, binding, and textural—my life-saving strategies. The weavings are freeform constructions and their dynamic quality mirrors the unpredictable rhythms and patterns of an ever-changing world. Each time I weave these, I find my rhythm and pattern in the larger flow. In addition, their structure also matches the contours of a particular emotional upheaval—the shape of Nature changing my life. The slightly distorted fabrics of the weavings record a personal history of “seeing the path blind.” Life changes so quickly; choosing patterns is a spontaneous and improvisational process. Each weaving is also a “swatch” from my larger tapestry of life, which I weave at the micro level as I navigate daily ups and downs.

The Background and the Foreground are the Same Series

Nature’s invisible fractals are like weaving patterns—when replicated, they materialize the fabrics of whole living systems. The Background and the Foreground are the Same is a work in progress and will include 9 weavings in the series. The theme of this body of work will be explored three different ways. I have organized the 9 textiles into groups of three, called Fractals. Referring to each sub-group of a whole woven exploration by this name creates a connection between the craft and an organic patterning process. Each family of weavings animates understanding of something from the unseen background with a blended expression of imagery, process, and integrative structures. Otherwise its wisdom is at risk of going unnoticed and unappreciated for the wonder it could inspire.

Fractal #1

Lifeforms are interchangeable expressions of the shared background fabric. Each is the other in disguise. The first three weavings in the series bring this theme to life. Woven images in the foreground emerge from the background grid, shared common ground. The three tapestries include a central geometric shape, reminiscent of the Chinese yin and yang symbol. It acknowledges both a weaving principle and natural tendency in Nature to embrace opposing forces, such as, the background and foreground being one and the same.

Fractal #2

A magnificent Douglas fir stands outside my studio. The tree sits atop a huge mound that its roots have elevated over the centuries. The invisible underworld of woody woven-tentacles, which include tiny webs of cilium spun by fungi, weave a subterranean system that supports the massive tree as well as its woodland environment. This family of three tapestries includes a prism motif. It refracts a full-spectrum awareness of the exchange of light-energy from above for life-energy below—the circulating process being orchestrated by the unseen organisms and their incessant weaving process.

Fractal #2: The Always-One Tree

The design for the first tapestry in Fractal 2. It is   9’ x 8’ and is currently being woven on the loom.

Note: The video Silent Oratory: A Weaver Speaks documents the setting up of The Always-One Tree tapestry.
Go to my YouTube channel: Handwoven Storytelling from a Life that Evolves as a Whole to see the tapestry being woven.

Fractal #3

These richly patterned fabrics will bring a spotlight to the theme of Nature’s fractal patterns. Each weaving is a graphic expression of the holographic relationship between a single weaving pattern and the whole fabric it materializes when it is repeated. The message from the cloth is: the one and the many are the same. These fabrics demonstrate there is no distinction between the background of a repeated pattern, and the foreground of an integrated structure.