LAUREN SINGER

13” x 11.5”, Repurposed, aluminum dryer vent, hardware, safety pins, found objects, wire, Pez dispenser, wooden jigsaw puzzle pieces.

Hardware brackets, candle elements, wire, 11” x 11” x 3”

The shocking September discovery that our symbols of power, strength and endurance could so easily be dismantled inspired this piece about 9/11. This grid-based construction, reminiscent of a skyscraper's infrastructure, seems at first glance, to be solidly built. Upon closer scrutiny, its frailty is evident--it is literally held together by threads.

Cut up hand- printed and painted paper, electrical components, hardware mesh, wood, beads, wire, 7” x 7”

This work completes a nine piece installation, entitled “A song of Time” , as it continues my quest to create beauty, meaning and cohesion from scraps of things saved and found anew. Although just finished, it echoes the palette, rhythm, hand and scale of the other eight pieces in this grouping, which were created years ago.

Crossing Snow brings me back to the personal in theme—it is a celebration of roads to be taken as my daughter makes her winter departure and journey of independence to study abroad in sunny Seville.

Hardware, Paper QR code, Hardware Mesh. wire—15” x 15” x 1”

This construction intentionally echoes an earlier relief work, “Peek-A-Boo-Blue”, which features blue-tinted hardware peeking out of a grid-based structure. The background in this piece departs from the earlier work, but adds to the new one by creating an optical movement from foreground to background and back again. Its coded characters replicate both the shape and values of the hardware pieces providing another layer of visual echolalia.

Hardware, lollypop sticks, gutter guards, electrical components, 8” x 8” x 2”

This minimal piece is imprinted with the repetitive circuitry and collective experience of helping my mother to hear again.

With technology informing trial after trial, test after test, device after device, the sounds we all take for granted still kept eluding her dear, right ear until NOW.

Hardware, hardware mesh, wood, 14” x 14” x 3”

Stockpiled raw materials have a simple repetitive beauty to which I am drawn. They relate to the grid-based aesthetic, which I enjoyed initially as a child, creating patterns with my father's poker chips and later weaving designs on the loom.

In this construction of found objects, the eight blue pieces are like jewels to me. Since they are a rare find in recycled hardware, I created this piece to showcase them.

Tulle, die-cut plastic strips , hand-cut applique, 65" x 15" x 5"

This flowing, shimmering piece is layered with hand-cut applique over tulle which has been knotted, stitched and interwoven within a plastic matrix. Inspired by John Masefield's poem, "Sea Fever", i t is a call to action to preserve our waters from the binding substrata of plastics and the rising incidence of toxic red tides. Red tides are algae blooms that are poisoning marine life, birds and humans around the world. Fertilizers, raw sewage runoff and climate change have been linked to their epic growth.

We can act to preserve or destroy our life-giving oceans-it's your call.

Metal binder fasteners, bamboo, enamel, hardware mesh, 14” x 14”

This piece was inspired by light refracting off skyscraper facades taken from a photograph of Los Angeles.

The contrapuntal cadences of color, line and rhythm which define the piece, derive from my interest in combining visual art with elements of music.

Found electrical component, carved driftwood, wire, paper, paint, hardware mesh on wooden board, 14” x 13” x 3”

Where tender foot dare you tread?

Neither is safe, here or there.

Home—ravaged memory. Reason is gone.

Go on, go on,

Go I.

Coated, recycled paper, wire, hardware, 10” x 10” x 2”

As a challenge, I decided to create a new piece that would be similar to my earlier work, Illusions of Stability, but would use coated paper from a recycling center instead of the metal hardware brackets previously used. Since it was not an easy task to measure, cut, hole punch and weave through double folded paper in both vertical and horizontal directions, I created a 5" x 5" mock-up first.

The title suggests that I thought the paper's properties were worthy of the task.

Hardware, mammogram markers, plastic spirals, painted cotton, wire, hardware mesh on board, 15” x 15”

X Marks the Spot

X marks the spot with a dash and a dot

And a dot and a dash and a big question mark.

Cut it out, stitch it back, with a prayer and a squeeze

And a big doctor's fee and a sigh of relief.

Hardware, computer pieces, found objects, photo, dryer lint, 8” x 7” x 3”

In the nursery I see Elizabeth, my incredible one. Shy of five pounds, she is wired to monitors. She awakens in the crib--away from my arms.

She bellows her needs. The mean nurse says, "she is something". I touch her sweet baby, skinny fingers and know she is fine.

Now she is ten. She still is shy. She bellows... but look at how big and close to my arms! She sure is something!

Mixed Media Construction: Hardware, bamboo, candle wicks, hand printed paper, paint, hardware mesh—10” x 10” x 2”

This dimensional piece was inspired by the same photograph of light refracting off skyscraper facades as I used for LA Rhythms.

What is interesting is how this work also relates to and perhaps unconsciously inspired Jungle Woman, an intaglio strip collage, I created a number of years later. All exhibit the same tightly repetitive, rhythmic verticality.

Mixed Media Construction: Woven, painted, texted paper shades, hand built ceramic, paper, found objects, hardware mesh—17” x 18” x 3”

We are what we eat, but what are we eating? This piece expresses my alarm about the genetically modified organisms, toxic pesticides and the questionable ingredients that are being spliced into the genes of our foods. Things clearly not intended for consumption have unknowingly become staples in our diets and part of our DNA and future. The title lamentation is a play on words and refers to the company largely responsible for this grievous crime on humanity.

Hardware, painted plastic , mesh, paper, 6” x 6” x 2”

Are you for or against destruction....

of lives...of homes...of families...of dreams..

of water...of food...of sleep...of safety...of sanity...

of law...of civilization...of smiles of children?

Today's war is yesterday's war is tomorrow's war.

Handwoven Construction: Cotton and mixed yarns, antique mother of pearl buttons on cards, Easter eggs, painted toilet paper, plant fertilizer sticks—22" x 17" framed.

Materials that I had on hand, like the beautiful mother of pearl button sheets, fertilizer sticks, and old chocolate Easter eggs, gave rise to the title and theme of this woven, painted, sewn and collaged womb-like construction.

Torn loose leaf notebook spines, quilted paper, plastic matrix, springs, found objects, acrylic on canvas, 16" x 12" x 3"

This work was created when my only child, brimming with adulthood, was graduating high school and leaving for college.The seeds were sown, the ground was churning, things were spiraling out of control. The natural order was changing, not only for myself, my daughter and my husband, but for all the families of all those taking wing.

Plastic strapping, hardware mesh, embroidery floss, 13” x 11”

Despite their finely crafted marketing, too many many toxic chemicals have become sewn into the matrix of our suburban lives-- our backyards, lawns, golf courses and ultimately stitched into our DNA.

It's time to round them up and say No!

Springs, hardware, copper bracket, rope, wood, found objects, 13" x 13" x 6"

A whimsical, African inspired mask sculpture.

Mixed Media Construction: Clay, wood puzzle parts, screen, dryer lint, matches, text, plastic—6” x 6” x 2”

If you love this planet, then...

Why so carelessly do you create conditions of toxicity and adversity?

Why so selfishly do you jeopardize the natural wealth and safety of our global mother?

Why so forgetfully do you run from the mistakes of the past and the responsibilities of the present into the fragility of the future?

Copper sheeting, melted pigment, hardware, wire, found objects, 7” x 8” x 2”

Fringe Element was created during the months following 9-11. I had no intention of addressing the still raw wounds of that day, nor did I feel capable of doing so. Working on this piece served as an escape and I worked non-directedly, allowing the creative process to unfold.

Hardware, waxed thread, enamel, paper, screen, 7” x 7” x 1”

Red light, green light, 1, 2, 3.Who walks the freedom trail with me? Whose hair is right? Whose walk is tight? Who won the right to be over me?

Mixed Media Construction: Plastic food packaging strips, tea fabric strips, paper strips, painted plastic grid, loose-leaf binder, plastic contact lens cases, on drawn wood board—44" x 12" x 5"

A fifth in a series of works about genetically modified foods, this work was inspired by food labeling issues, consumer's right to know and the holes in our labeling laws. Created from food packaging materials, and recycled, sheer fabric strips from a tea manufacturer, this piece appears as a beautiful, light, ethereal aesthetic despite its darkly sobering topic.

Everywhere we shop, we are bombarded by glossy, wholesome, good-for-you packaging claims that skirt the dirt on what really is inside our food. With genetically engineered ingredients and their potential toxic and allergic effects off the labels, consumers are being presented with an ornate, whitewashed, legal lie of omission and commission.

Mixed Media Construction, 7” L x 6” W x 1” D, Handmade and hand-printed paper, deconstructed etching, clay, enameling grids, wire.

Mixed Media Construction: Wood tiles, gelatin monoprint pieces—11” x 11”

Oh Marilyn,

We all try to capture your elusive presence,

but cannot.

Mixed Media Construction: Hardware, photograph, paper, wire, screen—6” x 6”

Duh! Are we plain ignorant, stupid, forgetful, shortsighted? Or simply so greedy that the rest of humanity is trampled upon save for a few trophies?

Mixed Media Construction: Wooden loom, screen, metallic thread, wire, parakeet feathers—8” x 8” x 2”

For Georgie-Boy, my sweet singing, somersaulting, brilliant speaking, head standing, finger biting budgie, who literally flew into my life out of the skies one summer day at Jamaica Bay.

We had many joyous seasons of play, friends to meet and time to share.

And, who departed tragically, swiftly, ironically, as my new love--the one I had been awaiting--sang his song of seasons to come, softly into my ear.

Mixed Media Construction: Paint, collage, hardware, wire, wood, hardware mesh—8” x 8” x 2”

From generation to generation, person to person, hand to hand, the beauty, warmth and comfort of a handmade quilt Is cherished.

Bamboo strips, paper, metal findings, paper, found objects, paint, canvas, wire,—8” x 8”.

This nine-piece installation began its creative journey over two decades ago when I started using small, discarded wire screens as aesthetic and structural features in my mixed media constructions. Assembling hardware, found objects, papers and other elements onto mesh supports with wire afforded me the relative freedom to attend to my infant daughter’s cries at a moment’s notice without messy hands. Repetitive knotting and wire twisting calmed me while I was in the throes of parenting. These tiny, dense pieces developed slowly but were my outlet for expression. Themes ranged from awe of my newborn daughter to outcries about racism, the environment, war, terrorism, to the personal again.

The last work, entitled “Crossing Snow”, brings a sense of completion to the installation. Using saved slivers of things from previous work it echoes the palette, rhythm, hand and scale of the other pieces in this grouping. Personal in theme, it recalls the past while commenting on the present as it coincided with my (now grown-up) daughter’s recent trip to study abroad in Seville.

Collectively, these works reverberate with the melodies of my life and sing the song of time as it marches steadily on.

Statements about the other works in this installation can be found on this

website.

(Sold) Mixed Media Construction, 14.5” x 14.25”, Hardware mesh, bamboo strips, graphite, colored pencil, paint, wood, metal chain, wire.

“The bamboo that invades my garden will sustain Mother Earth”.

Tulle, Die-cut plastic strips,, hand-cut applique, 65" x 15" x 5"

This flowing, shimmering piece is layered with hand-cut applique over tulle which has been knotted, stitched and woven within a plastic matrix. Inspired by John Masefield's poem, "Sea Fever", it is a call to action to preserve our waters from the binding substrate of plastics and the rising incidence of toxic red tides. Red tides are algae blooms that are poisoning marine life, birds and humans around the world. Fertilizers, raw sewage runoff and climate change have been linked to their epic growth. We can act to preserve or destroy our life-giving oceans. It's your call.

Mixed Media Construction: Woven, painted, texted paper shades, hand built ceramic, paper, found objects, hardware mesh—17” x 18” x 3”

We are what we eat, but what are we eating? This piece expresses my alarm about the genetically modified organisms, toxic pesticides and the questionable ingredients that are being spliced into the genes of our foods. Things clearly not intended for consumption have unknowingly become staples in our diets and part of our DNA and future. The title lamentation is a play on words and refers to the company largely responsible for this grievous crime on humanity.

Mixed Media Construction: Plastic food packaging strips, tea fabric strips, paper strips, painted plastic grid, loose-leaf binder, plastic contact lens cases, on drawn wood board—44" x 12" x 5"

A fifth in a series of works about genetically modified foods, this work was inspired by food labeling issues, consumer's right to know and the holes in our labeling laws. Created from food packaging materials, and recycled, sheer fabric strips from a tea manufacturer, this piece appears as a beautiful, light, ethereal aesthetic despite its darkly sobering topic.

Everywhere we shop, we are bombarded by glossy, wholesome, good-for-you packaging claims that skirt the dirt on what really is inside our food. With genetically engineered ingredients and their potential toxic and allergic effects off the labels, consumers are being presented with an ornate, whitewashed, legal lie of omission and commission.

Mixed Media Construction: Bamboo strips, paper, metal findings, paper, found objects, paint, canvas, wire—8” x 8”.

Intaglio Strip Collage, 7” x 6 1/2”

Sometimes I feel like a jungle woman,

born of the earth’s green,

bound by its rhythm,

and bowed by its grandeur.

Mixed Media Construction: Plastic packaging straps, hardware mesh, rubber snake, found objects on painted canvas—8” x 8’ x 4”

We have a right to grow crops from seeds untainted by Big Agriculture's venom. Herbicides, fungicides, pesticides and genetically modified seeds spliced with pesticide and other unknown elements have infiltrated our agriculture system.

We must tread carefully. The real snake in the grass is hidden in plain sight. Look closely to see what is really slinking through the ubiquitous green.

What will we reap when this our hands sow?

Mixed Media Construction: Woven, painted, texted paper shades, screens, hardware mesh, cellophane—18” x 18”

Our beautifully woven earth, once clean and pure, now consists of so many toxic chemicals, industrial by-products, non-recyclable materials, environmental deceptions and corporate excuses for truth. This has become such a part of the very fabric of life that it is difficult to fathom its detrimental effect.

Cute little abbreviations for abominations continue and continue and continue. Can you read behind the smokescreen?

Mixed Media Construction: Gelatin monotype, painted paper, screening, seeds, butterfly wings, hardware mesh—17'“ x 16” x 4”

This work reflects the horror, outrage and sadness I feel regarding the production and consumption of genetically modified organisms (GMOs) and our apathy and ignorance about its impending dangers. Despite living in a so-called free society, it seems that we are actually playing out an Orwellian nightmare, in which we are being pitted against a huge, insidious monster that is decimating the soil we live on, the water we drink, the seeds we sow and the foods we eat.

We are being told that GMO food is safe. But, the answer, my friend, is....

Mixed Media Construction (Sold)

Tapestry, Framed 5” x 7”

Cotton, Hemp

Tapestry, Needle Woven, Pearl Cotton

Framed 6” x 8”

Plastic strapping, hardware mesh, embroidery floss, 13” x 11”

Despite their finely crafted marketing, too many many toxic chemicals have become sewn into the matrix of our suburban lives-- our backyards, lawns, golf courses and ultimately stitched into our DNA.

It's time to round them up and say No!

Mixed Media Construction: Deconstructed bamboo fan, bamboo strips, mesh, found objects, chicken bones, industrial safety pin, ribbon, wire 12’ x 13’ x 2”.

This piece addresses the dual nature of the North Korean culture and expresses concern about what they are creating these days. My wish is for them to make bamboo, not warheads.

Mixed Media Construction: Hardware mesh, bamboo strips, hardware, metal findings—14” x 15” x 1”.

In this work, industrial metal findings were threaded onto thin bamboo strips and woven into hardware brackets. I do think that bamboo's strength, resilience, beauty and diverse applications are not recognized enough in our culture.

The bamboo that invades my garden will sustain Mother Earth.

Mixed Media Construction: Hardware mesh, bamboo strips, graphite, colored pencil, paint, wood—14.5” x 14.25”

This piece interweaves the duality of a personal story (my frustration over a neighbor's advancing bamboo into my ordered garden) with a universal plea for the environment (the benefits and uses of bamboo are myriad; it is the most renewable, versatile plant known to mankind).

In this construction, bamboo strips are literally woven through a metal grid to become both canvas and garden. A metal chain link alternately weaves through--in a thwarted effort to contain the many shoots. When one looks closely, the layers of raw, repetitive text and truncated phrases scrawled onto the bamboo are evident. This represents the emotionally charged efforts of trying to control such a tenacious species. Ironically, this very quality gives bamboo its supreme value as a renewable resource.The transcendent voice of the mantra emerging out of the matrix echoes this view.

When seen from a distance, the image and message become boldly minimal. My garden is a microcosm of our planet. The bamboo is here to stay. How we view and use it is up to us.

Mixed Media Construction: Hardware mesh, bamboo, metal findings, wood, wire- 15” x 15” x 2”

Although many of my pieces are woven in construction, this one is designed to just look that way. Here, bamboo is contrasted with metal elements and hardware for a purely graphic look.

Mixed Media Construction: Bamboo strips, metal findings, screen, wood, wire—14” x 14” x 2”

This is the first of two pieces worked to achieve a look that resembles weaving, but is not. It was pure fun!

Oil Pastel, 1 1” x 14”

Collage and manipulated photo, 11” x 14”

Self-Portrait, 11” x 14”, watercolor pencils

Woven, painted, texted paper shades, hand built ceramic, paper, found objects, hardware mesh, 17” x 18” x 3”

We are what we eat, but what are we eating? This piece expresses my alarm about the genetically modified organisms, toxic pesticides and the questionable ingredients that are being spliced into the genes of our foods. Things clearly not intended for consumption have unknowingly become staples in our diets and part of our DNA and future. The title lamentation is a play on words and refers to the company largely responsible for this grievous crime on humanity.

Woven, painted, texted paper shades, screens, hardware mesh, cellophane, 18” x 18”

Our beautifully woven earth, once so clean and pure, now consists of so many toxic chemicals, industrial by-products, non-recyclable materials, environmental deceptions and corporate excuses for truth. This has become such a part of the very fabric of life that it is difficult to fathom its detrimental effect.

Cute little abbreviations for abominations continue and continue and continue. Can you read behind the smokescreen?

Gelatin monotype, painted paper, screening, seeds, butterfly wings, hardware mesh, 17'“ x 16” x 4”

This work reflects the horror, outrage and sadness I feel regarding the production and consumption of genetically modified organisms (GMOs) and the societal apathy about its impending dangers. Despite living in a so-called free society, it seems that we are actually playing out an Orwellian nightmare, in which we are being pitted against a huge, insidious monster that is decimating the soil we live on, the water we drink, the seeds we sow and the foods we eat.

We are being told that GMO food is safe. But, the answer, my friend, is....

Plastic packaging straps, hardware mesh, rubber snake, found objects on painted canvas, 8” x 8’ x 4”

We have a right to grow crops from seeds untainted by Big Agriculture's venom. Herbicides, fungicides, pesticides and genetically modified seeds spliced with pesticide and other unknown elements have infiltrated our agriculture system.

We must tread carefully. The real snake in the grass is hidden in plain sight. Look closely to see what is really slinking through the ubiquitous green.

What will we reap when this our hands sow?

Plastic bags, food packaging, tea fabric, paper strips, painted vinyl, loose-leaf binder, contact lens cases on drawn wood board, 44" x 12" x 5"

A fifth in a series of works about genetically modified foods, this work was inspired by food labeling issues, consumer's right to know and the holes in our labeling laws. Created from food packaging materials, and recycled, sheer fabric strips from a tea manufacturer, this piece appears as a beautiful, light, ethereal aesthetic despite its darkly sobering topic.

Everywhere we shop, we are bombarded by glossy, wholesome, good-for-you packaging claims that skirt the dirt on what really is inside our food. With genetically engineered ingredients and their potential toxic and allergic effects off the labels, consumers are being presented with an ornate, whitewashed, legal lie of omission.

Plastic food packaging strips, tea fabric strips, paper strips, painted plastic grid, loose-leaf binder, plastic contact lens cases, on drawn wood board—44" x 12" x 5"

A fifth in a series of works about genetically modified foods, this work was inspired by food labeling issues, consumer's right to know and the holes in our labeling laws. Created from food packaging materials, and recycled, sheer fabric strips from a tea manufacturer, this piece appears as a beautiful, light, ethereal aesthetic despite its darkly sobering topic.

Everywhere we shop, we are bombarded by glossy, wholesome, good-for-you packaging claims that skirt the dirt on what really is inside our food. With genetically engineered ingredients and their potential toxic and allergic effects off the labels, consumers are being presented with an ornate, whitewashed, legal lie of omission and commission.

This piece was inspired by the beauty and raw potency of Ashanti fertility figures and a connection to the pleas of womankind. In keeping with tradition, I employed age old techniques, such as weaving, sewing, braiding and papermaking, to construct it.

Handwoven cotton/linen cloth, handmade paper, cardboard tubing, leather, feathers, stitching, 18" x 10" x 4"

A third in a series of figures inspired by the potent and beautiful Ashanti Fertility Figures. She was created in response to the global body of women needing healing.

Handwoven and collaged cotton/linen cloth, hand built ceramic face and hands, leather, hemp, cardboard, basketry materials, beads, on marble base, 22.5" x 12" x 6"

A reclaimed electrical meter box was the spark of inspiration for this piece, a fourth in a series based on Ashanti fertility figures. Natural and industrial elements are juxtaposed in this “Body Electric” charged with the creation of life through time itself.

Electrical box, electrical components and other found objects, ceramic head, yarn, 20" x 13" x 4"

Although clearly a male figure, this was the first of four pieces inspired by Ashanti Fertility dolls and my clicking biological clock. Traditional techniques such as weaving, sewing, braiding and paper making were used to construct the figure.

Handwoven cotton/linen cloth, handmade paper, cardboard, leather, found objects, 19" x 8" x 4"

Mixed Media Relief, 13" H x 13" W x 6" D

Found Objects.

Stoneware--handbuilt, 17" x 14" x 14"

It could have been revered for its years. It would have enlightened the future.

It could have been saved for our dears. It would have needed mere sutures.

It could have paved paths to knowledge. It would not have needed revision.

It could have been time's friend forever. It would have, but, for spiritless vision.

Stoneware, screens, nails, cord, 8" x 7" x 7"

Mixed Media Construction: stoneware, paper, leather, marker

6” x 4” x 4”

Mixed Media, 11" x 11"

Mixed Media, 9" x 8 1/2"

Pastel and Mixed Media, 9" x 9"

Mixed Media, 9 1/2" x 9 1/2"

Oil Pastel, 11”x14”

Intaglio 1/1

5 color lithograph, matted 16” x 20”

Watercolor pencil and marker, 11” x 14”

Collage, 11” x 14,” 2020

Gelatin Monotype, 13" x 13"

This singular print was developed with pencil, colored pencil and pastel after being hand pulled from a homemade gelatin printing plate. It has a distinctly different relationship to the underlying grid than most of my grid-based work.  Here, the elements are diffuse and uncontained, pulling away at the rigid boundaries that the structure imposes.

Mixed Media drawing, 11" x 8 1/2"

This piece was inspired by my pregnancy.

Gelatin Monotype, 7 1/2" x 6"

This  singular print was pulled from a homemade gelatin printing plate and then worked with colored pencil and grease pencil.

Intaglio Strip Collage, 7” x 6.5”

Sometimes I feel like a jungle woman,

born of the earth’s green,

bound by its rhythm

and bowed by its grandeur.

Mixed Media Collage, 10” x 10.5”

Handwoven Construction: Cotton and mixed yarns, antique mother of pearl buttons on cards, Easter eggs, painted, woven toilet paper paper, plant fertilizer sticks—22" x 17" framed.

Materials that I had on hand, like the beautiful mother of pearl button sheets, fertilizer sticks, and old chocolate Easter eggs, gave rise to the title and theme of this woven, painted, sewn and collaged womb-like construction.

Pearl Cotton, 51” x 11.5” including fringe

Mixed Media Construction: Deconstructed antique Korean bamboo fan, bamboo strips, mesh, found objects, chicken bones, industrial safety pin, ribbon, wire 12’ x 13’ x 2”.

This piece addresses the dual nature of the North Korean culture and expresses concern about what they are creating these days. My wish is for them to make bamboo, not warheads.

Tulle, die-cut plastic strips , hand-cut applique, 65" x 15" x 5"

This flowing, shimmering piece is layered with hand-cut applique over tulle which has been knotted, stitched and woven within a plastic matrix. Inspired by John Masefield's poem, "Sea Fever", it is a call to action to preserve our waters from the binding substrate of plastics and the rising incidence of toxic red tides. Red tides are algae blooms that are poisoning marine life, birds and humans around the world. Fertilizers, raw sewage runoff and climate change have been linked to their epic growth. We can act to preserve or destroy our life-giving oceans. It's your call.

Mixed Media Construction: Woven, painted, texted paper shades, hand built ceramic, paper, found objects, hardware mesh—17” x 18” x 3”

We are what we eat, but what are we eating? This piece expresses my alarm about genetically modified organisms, pesticides and the questionable ingredients that are being spliced into the genes of our foods. Things clearly not intended for consumption have unknowingly become staples in our diets and consequently part of our DNA and future. The title lamentation is a play on words and refers to the company largely responsible for this grievous crime on humanity.

Soft plaid with subtle stripe, handwoven throw, shawl or blanket. One-of a kind, 56” plus 7” fringe on top and bottom x 35”. Olive, browns, taupe. Soft and luxurious.

Pearl Cotton

Plastic strapping, hardware mesh, embroidery floss, 13” x 11”

Despite their finely crafted marketing, too many toxic chemicals have become woven into the matrix of our suburban lives-- our backyards, lawns, golf courses and ultimately stitched into our DNA.

It's time to round them up and say No!

Pearl Cotton, 13” x 60” including fringe

Pearl Cotton

Cotton/Linen

Cotton/Linen

Acrylic

Wool and Linen weft

Pearl Cotton

Pearl Cotton

Handwoven cotton, mixed yarn and feather fringe, natural stone and beaded pendant. 3” x 2.25” plus 15” plied cotton necklace and 1.5 “ fringe .

Pearl Cotton, with bone beaded pendant and glass bead fringe. (Collection of the Artist).

Pearl Cotton, natural stone and beaded pendant, heishi and ceramic beaded top and bottom fringes. Plied pearl cotton necklace.

(Collection of the Artist).

(Sold) Pearl Cotton with bone and beaded pendant and beaded fringe.

Pearl cotton with glass beaded weft, fringe and collar, plied pearl cotton necklace.

(Collection of the artist).

Pearl cotton and mixed fiber with heishi and glass beaded collar and turquoise nugget pendant.

Soft plied 15” pearl cotton necklace. Pouch measures 2 1/4”wide x 3” long and has an inside button closure.

(Sold) Pearl Cotton and Mixed Yarn for Fringe

(Sold) Wool and mixed fiber with crystal, jet, silver and rhinestone accents. 2 1/2" wide x 5" long, 25" chain and fiber necklace.

(Sold) Pearl Cotton and Mixed fiber with stone and crystal beaded pendant.

Pearl Cotton, glass, turquoise, and silver beaded warp and fringe. (Collection of the Artist)

1 3/4" x 3 3/4" with a 28" chain and fiber necklace.

Pearl Cotton with coral heishi beaded fringe and pendant.

(Collection of the Artist)

(Sold) Pearl Cotton with glass beaded necklace and fringe.

(Sold) Handwoven, lightly felted wool and mixed yarn with etched copper and beaded glass and Swarovski crystal pendant. Sized for business cards, money, special photos, crystals and charms. Inside button closure, 17” plied pearl cotton necklace. 3.25” x 5.5” (outside dimensions)

Handwoven cotton and mixed fibers, 2.5” x 5” (includes fringe) plus 14” plied cotton necklace. Inside button closure. Designed to hold crystals, special photos, charms. Perfect wedding gift!

(Sold) Handwoven and Beaded Necklace Pouch

Pearl cotton, chrysoprase natural stone, heishi, glass and natural turquoise beads. Mother-of-pearl button loop inside closure.

18.5 " H (4.5" pouch) x 2.5" W x .5" D

Wool, mohair and mixed fiber fringe, Outside dimensions: 3” H (plus fringe, wild fringe at collar) x 2.25 “ wide at center plus 18” braided necklace cord. African metal charm and beaded dangle. Inside button loop closure.

Handwoven Necklace Pouch, beaded warp and fringe, plied pearl cotton necklace. (Collection of the Artist)

Pearl cotton, glass and Swarovski crystal beads.

18.5" H (3.5" pouch) x 1.75" W x.5" D

Handwoven and Beaded Necklace Pouch

Mohair, wool, novelty yarns, feathers, cinnabar, glass, ceramic , and faux coral beads, metallic cord

19" H (3" pouch), x 4" W x 1" D

(Sold) Wool and Mixed fiber, plied cotton necklace, etched copper pendant. Inside button closure.

Cotton, linen and mixed fiber in fringe. Beautiful ,carved antique button and real turquoise nuggets at fringe and fine turquoise beads at collar.

Pouch 3.5” plus 5” fringe, plus 14” drop, plied cotton necklace.

Wool with Braided Necklace Cord and inside button closure.

Glass beaded fringe.

(Sold) Pearl Cotton, mixed fiber fringe with enamel and beaded pendant, 3.5” x 2.5” plus 16” necklace.

(Sold), Pearl Cotton

Wool with mixed yarn, metallic cord necklace, beaded glass fringe, found object copper pendant.

Wool with mixed fibers, braided necklace.

Natural stone and beaded dangle

(Sold) Cotton with mixed fiber, shell pendant and fringe

Wool with mixed fibers, knotted metallic necklace

Beaded fringe and natural stone dangle.

(Sold), Mixed yarns with glass beaded 3-tier flapper fringe.

(Sold) Pearl Cotton with turquoise dangle and beaded fringe.

Needle woven, pearl cotton, 6.5” x 7.5”, including fringe.

Needle-woven tapestry with horn disc and wire, mounted on 8” x 10” wood box

Wool, jersey, and mixed yarns

Needle woven tapestry, cotton and mixed threads.

3.5" x 3", (matted and framed 10" x 10")

Needle woven tapestry, wool and mixed yarn

4” x 3”, (matted and framed 10” x 10”)

Needle-Woven, Mixed Yarns

5” x 7” (mounted in 10’ x 10” Shadowbox frame)

Needle woven tapestry, wool and mixed yarn

4” x 3”, (matted and framed 10” x 10”)

Tapestry, mixed yarns

4” x 3” (matted and framed 10” x 10”)

Needle-woven, wool on cotton warp

8” x 9” (mounted and framed- 11.5” x 13.5”)

A sample weaving, still on frame loom, done for teaching my Saori-style weaving workshops.

Wool and mixed fibers, 5.5” × 8”

Needle-woven tapestry, cotton, and mixed fibers

4” x 3", (matted and framed 10" x 10")

Tapestry, Pearl Cotton, 2 1/2” x 3”, Framed: 5” x 7”

This piece was inspired by a glorious sunset at the Jersey Shore.

Needle woven tapestry, cotton, metallic and mixed yarns

4” x 3", (matted and framed 10” x 10”)

Tapestry, Needle Woven, Pearl Cotton

6” x 8” Framed

This piece was inspired by the magnificent bald eagles who have found a home and have become avian celebrities in Centerport, NY.

Needle-woven, cotton, wool, and metallic yarn

4” x 3” (matted and framed 10” x 10”)

Needle woven tapestry, cotton

3.5" x 2.5 " (Framed 5" x 7")

Tapestry

Pearl cotton and mixed fibers.

3.5” x 5” open shadowbox frame.

Pearl cotton.

3.5” x 5” open shadowbox frame

Needle woven tapestry, pearl cotton and natural reed.

4” x 4” (5.75” x 5.75” x 1” - mounted on acid-free paper and framed)

Handwoven wool and mixed yarns, antique button loop closure, 6”x 4" plus 24” braided necklace and 1" beaded fringe. Designed to hold phone, wallet, business cards, photos, crystals, charms.

Inside dimensions: 5.5" H x 3" W

Handwoven wool and mixed fiber fringe with antique button closure and braided cord crossbody strap. 5.5”x 4.5” outside dimensions, plus strap.

(Sold) Handwoven, wool, 24” braided necklace, antique metal button with loop closure. 3.5” x 6” outside dimensions. Sized for small phone, business cards, cash, photos, crystals and charms.