but I can't seem to stop working with them.
three people 'right' in one tapestry was definitely cause for celebration.
especially in small work where less is often more,
though viewers are sometimes confused by this.
"Where is her face?" they ask.
At other times, emptyness is the point.
I spent months worrying if I would get them right.
On my next body of work, it was a delight
to skip the heads entirely
I realize that avoiding the trauma/ drama of getting faces 'right'
was a large factor in my decision to stop accepting commissions.
People wanted to be in their tapestries and they wanted to look like themselves.
Too much pressure for me.
and explore ways in which body posture could portray the mood of the moment,
and I found that simplifying but not eliminating the features
allowed figures to be both general and specific.
has made faces positively compelling.
With each one, I'm full of curiosity, impatient to see who will show up.
Be sure to stop by Elizabeth Buckley's tomorrow and see what she has to say