Hooked on Svelte, 2015-2016

Yarn, sisal, wine corks, pill bottles, wood, tubing, acrylic, copper and steel. 12' x 38' x 6'

Extinct, 2019

Ostrich Shards 2' x 3'

The five vessels represent the five animal kingdoms and all the species that have gone extinct.

“Lines of Communication” from the Braille Series, 1999

Dyed leather, glass beads, pearls, hangers 20" x 10" x 3"

Two wearable handsewn leather masks are embroidered with beads and pearls representing braille text. The transcribed text is a pair of love poems that the wearers can read by touching each other's faces.

a wet blanket 2, 2017-2019

wool blankets 47" H x 57 W

Tide Charts, 2018

Hand Painted Cotton and Linen 10" x 250" (extended)

Women’s Work Is Never Done, 2019

painted vintage linens and deconstructed clothing, hand stitching of various methods of manipulating fabric historically used in clothing construction 16' x 14'

In my practice, I deconstruct and reconstruct clothing undoing another woman’s work and think about socioeconomics of maker/wearer and textile industry. In this installation, I used black painted fabric as I taught myself methods of fabric manipulation employed in garment construction to pay homage to the skills and craft of dressmakers. It is challenged learning, evidenced by my clumsy products, and labeled with tongue in cheek puns referring to the method and my emotions such as ‘I’m ruffled” for ruffles and “I’m boxed in” for a boxed pleat

Dali’s Tree – Laura Tabakman, 2008

Altered photograph, digitally printed on silk with seeds. 31” x 40” x 10”

Crown Point, 2017

silk Charmeuse, brads, lutrador, teabag liners & cheesecloth. 21x32

Who do I think I am, 2020

cotton jacquard, wood and copper 22.25 x 18.25 x 3

For most of my life I believed my family were Indigenous & French settlers from Canada, it wasn’t until several years ago that I discovered through a genetic test that this history was the strange invention of my parents. That genetic test indicated my family hailed from North Africa and Southern Italy. The discovery of this sent me down a rabbit hole to find even more fantastic fabrications. In most instances people have no reason to fact check their family history especially when the family agrees on it, and so these layers become who you think you are. This series which is in progress, begins with “Who do I think I am”, “Broken Pickets” and “I was two Bobs”. These are my personal metaphors indicating that something here isn’t quite right. After first doing a genealogical search it appeared that the family truth was imagined, but what led them to this remains a mystery to me. The somewhat disruptive beauty of the work holds the viewer, a need for interpretation leads to a deeper look as I continue to dig through history.

Derivatives, 2012

Cast paper, nets, overprinted newspaper 200 x 100 x 60 cm

Three women’s nightshirts connected with umbilical cord dropping down to the floor reflect my ideas about generations of urban settlements following each other. The back shirt has prehistoric living quarters, the middle one a medieval town and the nearest one a modern city layout on the belly.

The future of trees, 2014

Found branches, medical tubing, plastic waste, cement variable, 18 x 20 x 6"

When We Remember, 2018

Rust printed, indigo dyed, black bean and turmeric dyed, handwoven linen, hand spun paper, embroidery floss. 34" by 44"