Growing up on a large bio-dynamic farm in Germany during the 50’s, I didn’t know any other life than that one made one’s own food as well as clothing. Nature -and hard work- provided all.

Bio-dynamics is a form of organic farming developed by R. Steiner, the founder of Anthroposophy. At the time this was rather avant-garde. A sense of being different and following one’s heart and conviction was an impression of norm.

Though the farm as such seized to exist when, in the name of progress, much of the acreage had to give way to freeways I still understand my work to follow in the footsteps of a family tradition spanning over more than 800 years.

The world of fibre arts opened for me when, beginning at the age of three, I would sit at my grandmother’s feet during long winter hours watching her card and spin, knit and crochet. I was enthralled with the materials and soon tried to work with it myself.

It was magic! I was hooked - and my grandmother had an eager apprentice.

Working with natural materials has been an important aspect for me ever since and I have consciously and actively cultivated arts and crafts throughout my life.

I always had fibre projects on the go and taught myself through experimenting and sharing with other fibre enthusiasts.

Artistic pursuits included:

• Photography, also self-taught
• Dance, studied Eurythmy for four years with Wendalyn von Meyenfeld, North Vancouver
• Art Therapy through Watercolor, studied for four years with Monica Gold, West Vancouver

I have

• taught watercolor painting and form drawing at Windsor House School, North Vancouver;
• worked in watercolor painting with schizophrenic adults in Kahumana, Waianae, Hawaii
• taught watercolor painting at teacher’s conferences in Kirov and Rostock, Russia

After more than 25 years in the social field working mainly with disadvantaged teenagers in Canada and Switzerland, I decided in 2006 to return to Winnipeg and focus on art and crafts as a livelihood.

The first choice of medium was fibre and the favored application was wet felting. The versatility and inherent charm of wool is apparent in the diverse applications it has found in the recent revival of felting.

I particularly enjoy working with the nuno-technique because it allows for the exploration of ever finer materials and fascinating textures. Experimenting with limits and applications, I try to broaden the perception beyond the traditional.

Walking this tightrope turns into crossing the bridge between art and craft.

I work out of my home and thoroughly enjoy the community of fellow artisans when traveling to shows across Western Canada.