.1347 2024

Stencil, applique, quilting, 63″x 47″, including beautiful gifts of fine and castoff clothing from friends and family; my own things too. I love the variations in the fabric as a result of use: wear, sweat, stains, holes. Handsewn. Some of the clothing had originally been painstakingly handmade and handsewn–so much work! and I’ve tried to retain some of the stitching of these anonymous needleworkers and garmentmakers. Collection of the artist.

.1340 King Street Gallery –installation photos 2023

above: work by Thomas Doyle, Betsy Packard, and Jiazi Yin in “Blue,” at King Street Gallery, Montgomery College.

The following featured works are mine. They are of varied dates (1982 to 2023), sizes (98″x36″ is the largest), and materials (everyday and abundant-as well as saved, treasured ones). I’ve returned to used clothing as the primary. Mine is a green, slow art- right now more than ever-where conservation of resources is a priority.

.1315 1978

Newspaper, paper, fabric. 10” x5”x 2 1/2”(current size). Collection of the artist.

I’ve posted several of this series earlier, but here is some background: In 1978, I made several of these “loaf like” forms, wanting to make something 3 dimensional rather than a sheet of paper with pulp. Initially I had used special paper as my material–saved notes, letters, ticketstubs, i.e.– paper collage elements. It was a first step in creating a “journal” of physical materials- the personal or specific nature of the contents now a mystery to anyone but myself. I wanted to obscure that personal, sentimental element from the work. Newspaper pulp followed as an abundant, easy source of material for sculpture. First I experimented by adding rolled newspaper or embedding colored paper or fabric in the pulp, and cross-sectioning to reveal the center. My stint as a breakfast waitress at the PSA Hotel San Franciscan exposed me to vast quantities of bread, and an appallingly huge volume of barely used paper napkins, which i stuffed in my bag to take home rather than trash. I made some pulp out of those, poured it into my windowscreen “loaf” mold, and left it outside to dry. It yellowed but was still damp after several cloudy days, so I carefully monitored it in a slow oven, where it turned a golden brown. At the same time I was doing some art modeling at the San Francisco Art Institute, thus was given permission to use their shop and saws. When i cut into that loaf , I continued cutting, because of the amazing texture and uncanny resemblance to bread. Several examples can be viewed in the archive in the PAPER category, as well as years 1978, 1979, 1980, 1981. “Bread” .0319, below:

.0319 9/1978