My Early Work was primarily quilt based. I learned how to quilt from my mother shortly after receiving my BA from Hunter College and it quickly became my primary mode of creation. I was attracted to the historical tradition, regional variations, domestic labor, and that a folk art could be used to deal with contemporary issues. Over the years my quilts dealt with issues of gentrification, land-use issues, and the Situationists' notion of 'drift'. The last series of quilts I worked on was the Migration Series in which I collected detritus from the streets of Brooklyn and crafted a deconstructed quilt that hovered between the fragment and the whole. In these pieces patterns are severed, borders do not complete their paths, quilts do not form a perfect rectangle and the partial is never whole. Materials oscillate between the singular and the unified, where their history is never completely negated, but more importantly the treatment and care given to these cast‐off remnants is central.