Alison An early Baby Boomer, in childhood I learned sewing, dressmaking and needlework skills from my mother and grandmothers; and like most Australian girls my age had sewing of some kind through the early part of my schooling.

In the mid 60's, I attended university to study ancient civilisations, geography and geomorphology, trained as a highschool teacher, married an exploration geologist and went off to the Eastern Goldfields of WEstern Australia, Kalgoorlie, in the rapidly growing Nickel Boom.  In the following decades I've found myself living in a variety of  different landscapes, from other Australian Outback mining centres to western USA, and south to the coastal and littoral of Uruguay South America.  Each different landscape has influenced my vision and work.  I now see Landscape change over time as a metaphor for Life.

In the '70's I discovered the potential of stitch as an art medium, and began exploring what these days is termed 'mixed media'. Combining fabric, thread, paint and found objects, I presented my first solo exhibition "Sunburnt Textures" in 1987, Perth, Australia.

In 1988 our family found ourselves living in USA.  I did not have work permist, so initially 'for the cultural experience' I learned traditional patchwork, joined a quilters' guild and a bee. Colorado was a hotbed of creative souls involved in textile art, and I did not linger long over making traditional quilts.  I rapidly found myself creating and exhibiting non traditional quilted textile art, known as art quilts, commencing with Ancient Expressions 1, (1989).  I have been making and exhibiting art quilts ever since.

Underlying most of my abstract designs is that enduring essential characteristic of American patchwork, the repeated unit set in grids. The freehand cutting and piecing techniques I learned in the early 90s have proved to be the perfect technique for the landscape lines in my work, and this means that, even with repetition, no two units are exactly the same.  

Recent work often features non-traditional materials including some salvaged ones, used in quilterly ways as they are teamed with non-traditional techniques.  As I work less with fine fabric and more with things like mock patent leather or mylar backed nylon, it pleases me that these sit comfortably with bare bones definition of a quilt as a layered stitched textile, and the frugal, thrifty origins of patchwork and quilt making.