“We become artists because we think we have something to say. Something to share with another—an opinion, an idea, a dream. We believe we exist in a global society, where one action catalysts a second. I exited college during a miasmic confluence of distrust and disturbance. We hoped to realize by example. Some of us succeeded, some of us merely moved on.”

Back in the early 70’s, Kate studied under a master weaver.  She introduced her to origins and simplicity of woven structure and design. A few years later, she followed an exodus out of the city to the mountains of North Carolina and began weaving wearables. She attended Penland School of Crafts to fill a colorless void in her weavings.

 Kate was on the cutting edge of warp painting, refining and developing a new technique that allowed her to apply dye directly to the threads while on the loom.  This “dye painting, drying, and weaving” in place challenged but yielded intricate designs that melded fine art and fiber.  She exhibited her art kimonos across the country. 

 In the early 21st century, she began an innovative technique of weaving copper wire—copper mesh tubes, large flats on the same loom. Based on her experiences in Thailand years before, she created  Thai “spirit houses,” wound around found roots and branches.

 

Today, her studio is filled with only two looms, several stations and a “shop.”  She considers them family.

“It seems we have come full circle with the distrust and disturbance. Perhaps working more with our hands will calm and collect community.  Only when I am not at the loom, do I have my fingers crossed.