1980. NATIONAL IDENTITY, BORDERS, AND THE TIME FACTOR, OR WEE MANNIE. Collection: Norman MacKenzie Art Gallery.

(a) 19" x 24" Colour drawing with collage used as the "Cartoon" for the tapestry,

(b) Medieval Style Tapestry. 44" x 37".

(c) 1980. EDINBURGH PERFORMANCE 40" x 35". Medieval Style Tapestry. Collection: Mendel Art Gallery.

This body of work (including some creative writing) from around the Edinburgh post- graduate year was shown in the solo exhibition, Tapestry, Drawing and a Sense of Place at the Norman MacKenzie Art Gallery which toured in Western Canada. Publication and curating: Michael Parke Taylor.

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After working my way through a number of kilim rug based pieces I constructed my own undergraduate type training when I was fortunate to be able to spend a year in England. By undertaking short apprenticeships with John Hyncliffe, a rug artist, and Theo Moorman known for her innovative inlay technique. Also, by exploring every piece of information I could find in museums, galleries, catalogues and studios in England, Wales and Scotland, I came to the conclusion (like many before me) that the simplicity and immediacy of early medieval tapestries (that I had studied mainly in the Victoria and Albert Museum) was best suited for my concepts. With assistance from the Saskatchewan Arts Board I was able to spend an intensive year at the Edinburgh College of Art working with Maureen Hodge and Fiona Matheson. Through my self directed studies, and from many catalogues, I had realised that this was, at the time, the only place to study tapestry within the rigorous dictates of a contemporary art school. I needed to learn to translate my drawings on paper into tapestry with enough accuracy to satisfy myself.