to see full screen images, refer to :  https://margaretsundaytapestry.com/a-gallery-of-small-tapestries

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Kneeling Nun at Chino Mine,NM - jpg The Kneeling Nun at Chino Mine, NM  

2016

21″ x 17″

tapestry and other techniques: mixed flax, cotton twist and cotton floss warp; silk, wool, hemp, flax, bamboo and synthetic fibers, silk ribbon

The Chino, or Chinaman is one of the world’s largest copper mines, named for the people who came there to work in a language not their own. The palette of acids flowing in the pit and out into the desert air looks beautiful, although we know it cannot be beautiful. The weaving is an object of delicacy, of intimate size, embracing the panoramic. It is perishable like the world as it was, before mining began eating away at the landmark, like the town twice crushed when the mountain collapsed, like the view of a figure praying we do not see, like naming the thing we believe.

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Self-portrait with Lapettes Self-portrait with lapettes. Cropped frame. jpg

2016

15″ x 18.5″ x 1″

                                                                                                                                                  improvisational lace-making on a tapestry loom; mixed techniques. Natural and synthetic threads, yarns, strings and ribbons

The linen wings of peasant women’s caps are drawn with intoxicating gestural loops, often used as key compositional elements in early works by Van Gogh and Gauguin.  And yet, even in close-up views, these painters use perspective lines and flattened space in a way that implies an observer separated from the scene. Today we find our distance from 19th century Breton peasant life compounded by nostalgia and an idea of the historic. Wanting to understand a more fully shaped world of the Breton women—their labor, their land-scape, their society and their faith—I began by untangling the physical structure of their lapette caps from the 2-D picture plane. The birch tree trunk background of my circumscribed and clothed self-portrait honors Paula Modersohn-Becker, a Post-Impressionist whose artistic life unfolded between the rustic Worpswede colony and Paris, and whose robust nude and pregnant flower-crowned self-portraits portray a human being, natural in a natural world.

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Penelope Dissembling in Fackutopia , Margaret Sunday 2015penelope dissembling in frackutopia

2015

32″ x 35″

improvisational tapestry and stitching techniques, strip weaving: cotton, silk, flax, bamboo, wool, hemp, silk ribbon and factory ends

Evolved from an intersection of concerns: my unreliable skeletal structure in middle-age; the rage and current of deep shale fracking that quakes the earth beneath my town; weaving, with its surface sensitivity like skin and land, and its structures that are responsive to our assumptions about the stability of all matrices. My self-portrait is conceived as Penelope, whose intimacy with the principles of her craft enabled her to preserve what was dear. In life, there are times, simply put, when our refuge is in our hands.

 seen at “Fate, Destiny and Self-determination” Regis University, Denver, CO,  August 2015; “Grassland Inspirations” Mari Michener Gallery, University of Northern Colorado, Greeley, CO  August 2016

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Untitled jpegSelf-portrait with novelty hat 

2015

13″ x 10″

linen warp; flax, wool, cotton, silk, bamboo, synthetic fibers, silk and synthetic ribbon

A first self-portrait in weaving for the Selfies project http://selfiesonslow.worpress.com . The hat is an antique matador’s hat.

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Sunday,A Little Something from the Manufacturie A Little Something from the Manufacturie

2014

8 ½” wide x 10″ high

silk/synthetic/metallic warp; linen, silk, bamboo, wool, cotton and synthetic threads, silk ribbon, plastic doll leg                        

The misfit object is suspended by its metaphors: a gauzy sling, the winding sheet, a lacy stocking—half a pair.  Add Art Survey sarcophagus, stuffed vessel-urns, goddess horns with seascape, grape-blue serpent-waves, and metal; from Victoriana needlework, an apple tree or whale-tail, corset cleft; and existential fusion—itsy squint-field view of Denver airport tipis.  Each according to its kind of stitch or structure.  Model scale—a system, a creation.—mls

seen at “Unjuried/Untitled” ATA members show at Convergence 2014

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 A Transect Through the Enchanted Wood

2011

8″ wide x 10″high

cotton warp; linen, silk, bamboo, wool, cotton and synthetic threads, silk ribbon

A grade school assignment to plot, walk and write observations along points on a transect through our urban nature preserve—to everyone’s astonishment, my daughter’s notes included fairy sightings! —mls

seen at “Small Tapestry International 2”  Taos NM, Tacoma WA, Glen Allen VA; collection of the artist ; see review*

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Green Places                                    

2009

6″ x 17″

cotton warp; linen, silk, bamboo, wool, cotton and synthetic threads, silk ribbon

Countryside near Lexington, Kentucky imagined from a bird’s eye view—a plan of bold rectangles, frame structures,  narrow roads and neat plantings. Recalls suburbia’s spacious areas integrated with contours of neighboring farms and pasture land—paddocks for people?—mls

seen at Weaving Southwest; private collection

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NeaNear to Far_7678 c 1r to Far

2011   

10″ x  30″  

cotton warp; linen, silk, bamboo, wool, cotton, synthetic threads, silk ribbon   

From near to far and
here to there, funny
                           things are everywhere.
                                               —Dr.Seuss                                                  

My sketchbook shows land around Medicine Hat, New Mexico looping in tiers of reds. Old Chinese painters of mountains stacked up space to describe depth moving up and far, shifting conditioned Occidental readings. And snippets float out of memory—candy jars filled with ribbon cuttings in my grandmother’s sunlit kitchen.—mls

seen at Taos Fibers Marketplace  

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Wintersky Trio

2010

17″ wide x 15″ high, installed

cotton warp; linen, silk, bamboo, wool, cotton and synthetic threads, silk ribbon

Colorado Big Sky—sequential snapshots of late afternoon; winter fields of platinum grasses, yellow wheat; whites chill hard, but feather-out in distance; erratic skies in changeable opacities break out at the horizon; space unrolls above, behind my head. This small scale, tri-part image crops and compresses the landscape, implying the vast by contrast. Woven “3 up” side-by-side on a four (?!) harness loom. —mls

seen at Weaving Southwest, Taos Fibers Marketplace; private collection; destroyed by fire, 2015    

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Way up the Mountain_7688 c 1Way Up the Mountain, Middle Ground  

2011

14″  x 29½″

cotton warp; linen, silk, bamboo, wool, cotton and synthetic threads, silk ribbon          

Driving up, a bald expanse of rock, faced by open, bodiless air; oxygen thins and the light itself becomes impenetrable—the ten minutes’ rise to 8000 feet is suspension: an                 ungrounding mist of transit between two homes.—mls

seen at Taos Fibers Marketplace, “Roving Beyond the Edge” Gaucho Blue Gallery, Penasco, NM

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Granite LaceGranite... 1000                                                           

2007

12½″ x 24½

cotton warp; linen, silk, bamboo, wool, cotton and synthetic threads, silk ribbon     

Colorado’s Big Thompson Canyon—angles, texture, fissures, light and time; the same rock faces sketched over a decade from the passenger side of a moving car; woven shapes, or strata, pieced together, forming a wall of handwork, mimicking the dynamic action and molecular delicacy of eroding rock.—mls

seen at Weaving Southwest; Taos Fibers Marketplace; (Oct. 2014—March 2015) ‘The Art is the Cloth”, New Hampshire Institute of Art, George School, Newtown PA, Deerfield Academy, Deerfield MA; Fiber Art Now, Winter 2014-2015 issue 

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Continental Shims Tiff to jpegContinental Shims 

2013

12½″ x 25½″

linen warp; linen, silk, bamboo, wool, cotton and synthetic threads, silk ribbon                

Driving inland from the coast of southern California to the mountain forests, we ascend in short order through changing palettes, landform patterns, and the textures of conspicuous, specialized flora. Underneath is the fidgety cusp of a continent, waved and troughed, crumpled and back-filled. For all we imagine, riding the surface’s smooth-sculpted rise, the earth, in this moment, is stable: shimmed and leveled, joined and dovetailed—in bird’s eye and cut-away views.—mls

seen at Taos Fibers Marketplace, “Roving Beyond the Edge” Gaucho Blue Gallery

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Skytract  Matrix

2012    

9″ x 29″

cotton warp; linen, silk, bamboo, wool, cotton and synthetic threads, silk ribbon                                

Some formative suspicions about shapes—wedges, spires and trapezoids—as they ascend the warp, led to adapting a simple loom for changing the structural interlock of planes in my designs.This is a first experiment in weaving tapestry with repositionable groups of slanted warp threads—a test of the tensions and elegance evoked when a matrix, which is spontaneous and effluent, converges with the static framework of warp and weft.—mls

seen at Taos Fibers Marketplace

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Rock Garden for Sue Ping 004Rock Garden for Sue Ping 

2013                      

7½” x 18½”

linen warp; linen, silk, bamboo, wool, cotton and synthetic threads, silk ribbon

My neighbor on the mountain dreamed about a rock garden. I said, come on over, Sue, and we’ll make rock gardens.

seen at “Roving Beyond the Edge” Gaucho Blue Gallery  

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