Since I began working with the design, art and production of handmade textiles, I have developed a particular approach that combines research in computer aided design and production, interest in abstract, geometric or figurative patterning and the theoretical principles of weave structures as they affect creation potential. Inherent in the pursuit of this long and inexhaustible search, I have experienced an understanding of the physical presence of textiles. Because textiles are not only visual but also tactile, they are not only imaginary but also tangible.
My work tends to concern itself with the formal qualities of the materials I use and the technological potential of the theory and equipment with which I have been engaged during my effort to articulate an individual understanding of textiles. I have continually referred back to textiles themselves to provide direction toward refining or exploring processes. As a result, the subject of my textile work may be an attempt to articulate my presence in the world through the creation of these physical, tactile, visual entities.
Textiles continue to occupy still very exciting sites of innovation as they have done so since our earliest records show. Because they demonstrate so well both human manipulation and intervention, they may seem unrecognizable or unusual at first until our experience allows their absorption into our collective consciousness or individual psyches. Curiously enough, textiles, as domestic and unmemorable traditions, circulate easily in this new electronic world, as if they were the precursors. Haven't they been, indeed?
A concern about my personal and professional implication brought me to look and appreciate the art work of other fields. The movement and rhythm of the dancers always attracted me ; they are very much similar to my vision of textile creation. Some of my most important work consists of a series of photographic scenes depicting contemporary dance companies in action. The creation of one of these woven images starts from a photograph of a dancer in action. The colors (or grey values) of the scanned photography is then reduced to a limited number of values; each value is after replaced by a woven structure. When the image is ready and transferred into weaving structures, it is woven on a Jacquard handloom in my studio.
In a certain number of my works, I have been introducing images of trees. Trees, as subject and as inspiration, have been very present in my artwork. Their texture, their stability, their strength, their silent presence, their multiples colors, inspire me. I always come back to this soothing vitality. No matter what happens in my life, nature is a source of inspiration, of energy and of spiritual nourishment. Trees, with their strength and their silent presence, inspire me, comfort me and provide me with vitality, stability and peace. Sometimes, faced with the ugly realities of our world, I dream of being a treeMy works of recent years bring me to a convergence where the body in movement is integrated into a nature timbered, rich, inspiring. Sometimes, I have integrated architecture images, hoping that human beings, the built and nature could live in harmony.