For my problem, I proposed to document and analyze the relationships of the spontaneous and premeditated approaches in my work. The pieces that I began during the Spring and Summer 1979 were to be my primary sources of data. Two means were used to document these works and my approaches to them. I photographed the pieces as they progressed up to and including the finished product, and a sketchbook-diary was used to compile ideas and responses.

My problem was to combine warp ikat woven in crowfoot satin weave with supplementary weft techniques, in order to increase visual depth and maintain visual unity.

At the beginning of my graduate study, a series of clown images was executed. The entire surface was utilized in a rapid and spontaneous manner in the first few drawings. The clown images became more complex and visually perplexing. Yet, through an attentive study of these images, I felt a need to be more direct, expressive, and selective in approach and method. It seemed that, consciously or unconsciously, the process of drawing an image important to me was an attendant characteristic to the actualization of the image. The personal promise in these conceptualized and drawn forms was of major concern to me. My proposal, therefore, was to investigate the existing motivations behind these images, to explore the meaning and significance of the sum total of my work.

The intent of this problem was twofold: (1) to demonstrate the adaptability of woven tubular forms in an exhibition space and (2) to demonstrate how support structures could be successfully combined with woven fabric forms as part of the overall design. The problem was executed to alleviate some of the limitations imposed by exhibition spaces. Specifically, the more versatile the piece, the greater the potential for aesthetic and structural effect.

My interest in pictorial representationalism began when I started painting and drawing as a child, and my concern for working realistically continued and developed through my undergraduate years in college. In this investigation i explored the working processes used in a representational approach to contemporary woven tapestries. A brief discussion of the origins of representational woven tapestries with concentration upon Twentieth Century textiles was followed by an analysis of the influences upon my work by artists and stylistic trends.