"Don’t be afraid to put the guy with 30 years of experience on the bench and let him consult a group of younger folks to lead a project and challenge the status quo,” she advises. “If you are going to get people interested in this industry, it can’t continue to look how it’s always looked. It’s okay if everybody’s skin color is different at a table. It’s okay if half of the people in the board room are covered in tattoos. It’s okay if someone came from the cannabis industry and is now growing lettuce in a vertical farm. We’ve got to be able to cross over into the next stage of this industry’s evolution.”"
"“I recreated a bedroom scene – all the textiles, the bedspread, the pillows, etc. were made from shiny silver and black low-carbon steel. But Michigan is a lot like Savannah. Lots of humidity. The steel started to rust and fall apart.”"
"“We were filling this void that maybe people didn’t even know was there. We’ve grown, but at our core are the studios and the space for artists to work and connect.” We discuss how the organization has changed from simply being about “art for artists" to sharing their vision with the community, to reaching outside of Savannah through an international artist residency and showing contemporary work from artists throughout the southeast."
"“I’m thinking about the stitches’ repetitive structures as being an abstraction of the repetitive structures in nature.”"
"“I took a papermaking workshop at Penland last summer and have been making embossed panels out of paper pulp. It’s all recycled computer paper and junk mail.”"
"I’m not a religious person but I find something bigger than myself and something inspiriting in nature. I see connections – the same patterns that are on a microscopic scale are on a macroscopic scale, and the way the world has organized itself into these super-efficient and beautiful patterns. I love reading science books about physics and nature and learning amazing little details about the natural world. My first instinct as an artist is to be representational, but if I abstract my work, it pulls the viewer to spend a little more time with it.”"
"I started embroidering on watercolor paper – black on white at first,” but inspired by a black-on-black painting she’d seen in a show in Nashville, “I began to coat wood panels in graphite, drilled holes with my jewelry tools, and embroidered in white. I am in love with graphite because it can be perfectly matte all the way to reflectively shiny.”"