My decision to use discarded quilts, a craft medium most commonly associated with women’s domestic work, recognizes that these artifacts have value as material repositories/artifacts embedded with the decisions of their makers–aesthetic, utilitarian, and creative. As a painter,

I appropriate the remains of quilts and paint on them, interacting with their form, pattern, and surface.

I have used the concept of the quilt, from the early days of the women’s movement in Louisville, to the present. I have seen my work evolve from 1980 as a commentary on the quilt itself as a sign of women’s visibility in the arts, to the present as a sign of the invisibility and deterioration as well as strength and beauty of aging.

Influences are Robert Rauschenburg’s work “The Bed” as well as the large color fields of Barnett Newman and Mark Rothko, Helen Frankenthaler’s painted raw canvas, and quilts I helped prepare for the 1980 exhibit “Kentucky Quilts 1800-1900”, Miriam Shapiro, and Judy Chicago’s book, “Through the Flower” and her installation, “The Dinner Party”.