Nuit Blanche 2, 2002



     "When I was a child, I loved to roam the countryside, enthralled by the feel of the sun and the earth. During those ramblings, I was occasionally visited by surges of extraordinary joy and light. For a few perfect moments, I felt connected with nature's energy. My work helps me restore the essence of those early encounters. Whether the images are plant or abstract forms, they represent a deep spiritual resonance with the earth."
Excerpt from Thames Art Gallery catalogue 'Of the Land', 1994
     I was born in the small French village of Pain-Court , Ontario, at the southernmost tip of Canada. I lived for summer, drawn by the nearby river and its surrounding countryside, fascinated by the local ecology in all its diversity. A passion for plants and nature lead me to choose formal training in Ornamental Horticulture. But eventually, my earlier fascination with embroidery and fabric collage evolved into a full time art profession, noted for a painterly approach with textiles and threads.

     In the making of my art I bring together three divergent disciplines, ones which have held a strong attraction all my life. The first is the sciences, because I have always been curious about how natural systems work. Secondly, I am drawn to the visuals and aesthetics of colour, form and texture. Finally, I have a strong belief in an all-encompassing spiritual force that expects great commitment from me. Creating art is my way of harmonizing this triangle of energies.

     With its organic origins and woven structure, fabric is the perfect medium to express the rich textures and vibrant colours of nature. I work intuitively, using thousands of fabric and thread cuttings like a painter uses paint. The result is an accumulation of semi-transparent layers, hiding and revealing what lies beneath, and building up images that physically embody the breadth and nature of my themes. All my work highlights some aspect of nature, in a range of abstract and representational styles.

     My wall hangings have been exhibited in Canada, the US and abroad and are part of numerous public and private collections, including the Canadian Department of Foreign Affairs. I am the recipient of several professional Arts Grants from the Ontario Arts Council and the Canada Council. The home and studio I share with my photographer husband, Janusz Wrobel are located in the picturesque Niagara Escarpment region, near Dundas, Ontario.





     The technique that I call "collage with nets" has its roots in my love of hand-embroidery. Needlepoint was my first love, and while my earliest pieces were compelling and rich I always felt impatient because I had so many ideas and wanted to work in a larger format. I embarked on a quest for a technique that would not compromise intensity of colour and texture, while allowing the freedom of line and shape that exists in the world of painting.
     I begin with a plain fabric ground. On this surface I drop hundreds, sometimes thousands of tiny bits of cut fabrics and threads (of any kind - natural, synthetic, metallic) until I reach a depth and texture that pleases me. I then pin transparent netting on top, usually nylon tulle, which holds everything in place. The layers are then machine stitched together. This new fabric is now ready for further surface work: machine applique, embroidery, collage, and, more recently, photographic transfers from my photographer husband's huge collection of natural images. The finished surface is then quilted with felt or cotton batting to enhance the textures and lines. I do not frame my works behind glass as this compromises the richness of the fabric. All the pieces are suspended with a wooden bar at the back, and anchored to the wall by one or two small nails.
     The sources of my materials are many… fabric stores supply most of my ground materials but I also routinely visit second-hand shops and knitting stores. My friends who sew give me their scraps (so hard to throw away!). Over twenty years I have accumulated a huge collection of bits and pieces from all over the world, some of which are still waiting for the perfect moment.
     The overall effect is much like a pointillist or impressionist painting. Over time I have developed this technique to the point where I can now produce almost any image that can be painted or drawn. With a thumbnail drawing as a guide, I work on the surface as it slowly evolves and the 'reality' of the material speaks to me.