All my work comes down to the drawings, which are the meat of the thing however expressed. I think of them like automatic writing, sometimes like shamanistic drawing, always as some form of friendly spirit. For me they are a glimpse of the undercurrent we all feel when we suspend ourselves and go deeper. They are a small part of an ancient thread. I feel no hierarchy with regard to media. I have been recognized for my work in functional and wearable art including elaborately pieced scarves blockprinted with my imagery and applique handbags made of vinyl and vintage fabrics. For twenty years I have collaborated with my husband Wence on tapestry design which has led me to doing large scale paintings on paper. Some are mock-ups of proposed weavings some are not intended to be woven. All provide for further development of my original symbols. The current paintings were done for a exhibition at the Fairfield Contemporary Art Center in Sturgeon Bay, WI. May 15 through June 28, 2008. This winter in Oaxaca, I became aware of the indigenous plant movement which is part of the ongoing social movement. My drawings of roots from the preceding months became broader talismans... symbols of the spirit of the plants. The symbols are meant to honor, uplift and energize the sacred and the natural in the face of a tenacious assault by corporate genetically altered experimental food crops. In Mexico, this could signal the complete end of a way of life. Most rural citizens grow their own supply of corn for the year relying on seeds they saved themselves and trade within their community. There is a "Terminator Seed" designed to kill indigenous seed, (as a corporate designed "Bio-Security Measure"). As crops become infected by normal pollen movement, indigenous "old stock" seeds no longer will sprout. Already there is great concern as tests show broad GMO contamination that is impossible to control. Indigenous farmers end up forced to purchase corporate GMO seeds since their natural seed selection has been infected with this licensed product. During our winters in Oaxaca, we live in a farming/weaving village, in an area where corn is sacred. I was surrounded daily by people who will be impacted by these issues. The threat and the mounting evidence broke my heart and is reflected in my work.