Some new watercolors and drawings were included in my Carrboro ArtsCenter exhibit,
along with my Fiber pieces

Intervals
A forest is as much intervals as trees, nature is as much life force as forms, and in empty spaces a subtle energy comes into being.
Watercolors on gessoed matboard.Framed size: 20.5”w x 24.25”h

Behind the Wall
This drawing began as a sketch made from our window in Mexico. I returned to it off and on over a period of years in an effort to see how everything affects everything else.
Charcoal pencil drawing. Framed size: 13×13”

Summer
We are all embedded in the world we live in.
Watercolor: paints and pencils on gessoed matboard. Framed size: 16.5”w x 20.5”h

Streambed Genesis, featured in Fiber Art Now magazine—one of 14 pieces accepted for publication in the Darn Good Yarn sponsored call for entry (fall 2018 issue). Included in the 2017 North Carolina Artists Exhibition (Juror Michael Rooks, Curator of Modern and Contemporary Art at the High Museum in Atlanta, narrowed 607 works entered down to 72). Also in the Durham ArtGuild 63rd Juried Exhibition (73 regional artists selected from 238 applicants) and “Transformation: Fiber as a Medium,” The Common Thread Gallery (2019, virtual gallery and on Saatchi Art).
Related blogs: Listening to the Stones and … a subtle energy …

Linen, wool, and cotton yarns with river stones. Needlelace, needleweaving, coiling, wrapping, on a metal frame, 25 in. H x 30 W x 2.5 deep.

Inception–Life Emerges is a direct expression of concepts that show up in most of my work—the mystery of organic life appearing and diversifying. whether from the sea or space or the primordial muck.

A double-layered piece hung over a bamboo rod.
Linen yarn, handmade paper, river stones, jasper beads, 31 in. H x 36 W x 2.5 deep.

Exhibited virtually in the international juried show, “Threaded II,” at Envision Arts, June 1–30, 2020. Also in the juried exhibition, “Reclaiming My Time,” The National Humanities Center, Research Triangle Park, NC, Sept–Dec 2019. Included in a front-page feature on Open Arts Forum, along with two other works, January 2020.

In recent years, most of my work in fibers makes use of the needlelace technique—some of the same stitches used by traditional lacemakers, but arranged freely and intuitively. The pieces often include handmade paper and natural objects such as river stones.

Morning is an appreciation of a new day, silk yarns with a few agate beads.

Needlelace, wrapping, on a metal frame, 24 in. H x 30 W 

BIO: Pat has long been a visual artist as well as an author. Most recently her artwork has appeared in several virtual shows and in North Carolina venues. She has also exhibited in the Mexican town of San Miguel de Allende, where she and her husband lived for fourteen years. Her NC exhibits include one-woman shows at the North Carolina Crafts Gallery and Carrboro Town Hall, as well as works in the North Carolina Artists, Durham Art Guild, Orange County Art Guild, and Visual Art Exchange juried shows.

Pat earned degrees from Duke, Hollins, and U.Ga., and taught art in Virginia schools and in several programs for the talented and gifted. For some years, she lived on an old Shenandoah Valley farm where various artists held creative workshops. Her earlier works were shown in southeastern U.S. galleries and museums, including juried shows at the Virginia Museum; the Mint Museum of Art; the Athens, GA, Lyndon House Art Center; and the traveling exhibit Southern Sculpture. Her essay “Reveyesed I’s” was published in the anthology Creativity (Simon & Schuster, edited by John Brockman).

Some earlier pieces in various media (most now in private collections).