Over the years I have worked with many different types of dyes, but my first natural dye class 14 years ago began an instant love affair with this ancient technique of using Nature's bounty to create art.  I find the colors to be rich and earthy with intoxicating aromas which makes working with them a delight to the senses.  Natural dyes made from plants gathered in the wild have been used for thousands of years; however, I have found that extracts provide more consistent hues than gathered plants, so my dyes are purchased from companies who import them from third world countries.  I also collect clays from the surrounding mountains and grind them into earth pigments.  Sometimes I feel like a chemist because different substances can alter the final color when they are added to either the mordant, dye bath, or post dye dip, thus making the fun of experimentation an added bonus. 

 Generally the procedure I use involves mordanting, immersion dying, followed by 2 or 3 subsequent dye baths using Japanese Shibori techniques. After machine washing and drying, I begin the surface design work.  First I screen and stamp on a discharge agent to remove color in patterns.  Then I apply the same patterns with thickened dyes, or just paint on the dye. This is followed by steaming and another machine wash and dry.  The final layer consists of an application of textile paints using similar imagery.

 As with any surface design procedure, tools are required.  I generally make my own stamps, stencils and screens; and often use found objects including bones.  My imagery is a fusion of Asian, ethnic, ancient, Native American and contemporary designs.  After dying two dozen or more 2 yard pieces of various silk fabrics, I study the pieces to determine which ones I can coordinate and divide those into small groups. I then start the surface treatment. Often the color groups dictate which imagery I will use.  It's usually an intuitive process in which I let the fabric "speak" to me.