As a photographer earlier in my life, I was drawn to experimentation. I exhibited and was collected internationally under the name Patricia White. I loved turning the camera’s ability to record detail and light into abstract environments outside of time and place. I found enduring excitement for the better part of a decade using the transitions in my process to produce images with satisfying and unusual surface interest. The many steps in producing these camera images, including painting on them, gave them very much a life of their own. I loved that.

     Felt work engages me in the same way. I lost much of my eyesight some years ago, causing profound adjustments in my life and creative practice. It took time to regain my footing. The pure physicality of making felt restored my adventurous spirit and awakened my joy and creative vision. Laminating natural fibers and fabrics into luminous, durable felt produces light-weight, beautiful surfaces with a narrative range and compositional depth that is limitless.

     Making felt is an ancient practice. It is perfect for me is that it is so tactile. The wet, soapy dance that produces finished felt delivers unexpected outcomes when layouts shrink sometimes half their original size. The shrinkage renders both subtle and dramatic texture changes rights before your eyes. Color blends add  depth and complexity to design. The heartbeat of my felt work is my love of metaphor, movement, color and abstraction. I am grateful to share this work in the context of what came before it.

1st image of series,"Light Tracings." Oil paint on toned gelatin silver print, 1978