Born in the Paris garment district, I studied French literature in order to find wisdom, but also to escape from the grossly underpaid world of the threaded needle. By the late sixties, I had been drawn back to working with fabric and it has been my favorite means of expression ever since, though recently I ventured into printmaking and watercolors. I try to use textiles to make textile work, not to emulate oil. It is a different medium.
I agree with choreographer Mark Morrisís comment that "there is just too much artwork that rubs your nose in your own misery and I donít think thatís very interesting." Like him, I have no interest in pointing out the shortcomings of society, or in giving a message. Like him, and the medieval artist, I believe that art is meant to set people free from the humdrum reality of everyday life. The sine qua non of art is careful craftsmanship.
When there is a balance between emotion, shape, and color, magic can emerge; and only then can one get a glimpse of the eternal triangle of truth, goodness, and beauty.
The work is done on mostly 24 stitch to
the inch canvas. I make one stitch in each hole with D.M.C. floss in tent stitch.
I sometimes add various stiches (bullion knots, French knots, chain stitch,
etc. ) if I find them useful. I also do pieces on various types of materials, using different stitches and threads. It is indeed pointillist work.
I draw the project on paper and, if necessary, I reduce it on the copier. I set the drawing on a light box. I place the piece of canvas on top. I trace the drawing.