Untidy in the Weeds, 2023, fabric, paper, graphite, ink, string, embroidery thread, 11 x 21 1/2 inches.

Here is an artwork I made on a segment of a French tapestry.  Originally, the tapestry was extremely long.   I had tried to make a bizarrely long flower Frieze like the Bayeux Tapestry, but it was not successful. I cut it into three parts, the other two being “Flower Frieze: Sun Saturated Spring Patch” and “Roots of the Flowers”.

A huge part of my work is to appreciate, examine and transform the undervalued and uplift its worth.    The tapestry base of this artwork is a strange crude and rejected linen tapestry that has an unclear history. I cannot imagine what kind of person owned it, or when they owned it.  I am sure that they were not fancy.  I appreciate the strange red boarder, the repaired cut, the fraying, and the grimy colour.

During COVID, I stole chunks of alone time sitting on the outskirts of cultivated growth to draw weed plants and flowers. Here is a little weed patch that contains some hearty flowers that some people might call weeds.  I embroidered some real and some made up plants and sewed on some paper flowers drawn in plein-air.   It was important to me that the inks were as realistic as possible.  The greens are made with oxidized copper and the yellows are also made with natural pigments (I think).

This work is called “Untidy in the Weeds” because when you are in nature, it is not tidy and this artwork is a bit haphazard.   Here, “Tidy” is tongue and cheek. It is something that we love as humans, but  it is not the way of the world.  As Emilio Pucci said to me on one of the best days of my life, “Nature never clashes with itself. It is the artificial that clashes. ”   I have taken this further to mean that nature’s wild growth is perfectly positioned to thrive.   Of course, I couldn’t possibly replicate the wildness of nature, but I do feel like I am channeling something greater than myself in my art and I was hoping to portray a bit of the arbitrary in this one.