
Fashion Babes, 2014
41 x 41 cm, silk organza, embroidery thread, hand stitching – The weedy sea dragon is my favourite animal and is very elegant. Its elegance and fashion is analogous to fashion models.

Fashionista, 2012–13
112 x 53 cm, silk chiffon, hand stitching – I see sea dragons (my favourite animal) as creatures of elegance and elusive beauty which may echo haute couture.

Figure Out (The Horror of Confinement), 2006
106 x 100 cm, hand dyed cotton, painted polyester taffeta, heat cutting, hand stitching – The figures have broken out of the constraints of the past as well as the present ones. They have their freedom. Since we are pack animals, confinement of any kind especially solitary confinement is a horror.
At present there is no visual record of this work.
First Light, 1992
121 x 91 cm, cotton, satin, machine stitching – The subtleties of darkness as dawn breaks, using a variety of blacks.

Flood Plane, 2005
75 x 111 cm, hand dyed cottons, polyester, coarse cotton thread, synthetic, fusible web overlay, hand stitching – Exploring layering.

Flotsam, 2005
121 x 88 cm, hand dyed, heat cut, hand painted polyester, cotton, cheese cloth, hand stitching, hand tying – Stuff found at low tide.

Four Weeks in Europe, 2013
94 x 60 cm, linen, hand stitching.

Full Fathom Five, 2015–16
102 x 62 cm, silk organza, embroidery thread, hand stitching. Janet Holmes à Court Collection, acquired 2019. – Sea matter in the deep. The title is a quote from Shakespeare’s ‘The Tempest’.

G’Day Gaddafi, 1989
90 x 202 cm, cottons, polyester cotton, rayon, machine piecing, hand appliqué, hand quilting – The sense of dazzle and swirl inside a traditional tent common in the Middle East. Colonel Gaddafi’s is spectacular. Is there the suggestion of blood drops and bullet holes?

Gingin Summer, 1981
142 x 142 cm, cotton, hand piecing, hand quilting – This is an attempt to explore, in pieced work, the shapes and colours of some of the indigenous plants of the Gingin area, Western Australia… kangaroo paw, banksia, xanthorrhoea, Western Australian Christmas Tree (the largest mistletoe in the world: a tree up to 10m), a grevillea, a purple bell and leaf forms. The colours reflect not only the plants but also the bright light and deep shade of summer. The design is within the constraints of concentric circles or segments of such.

Golden Shadows, 1980’s
164 x 122 cm, cotton, machine stitching, hand quilting – Traditional technique explored in non-traditional fabrics.

Golden Soil on Fire, 2019–20
53 x 68 cm, hand dyed, screen printed cotton, linen, hand stitching – At the time the golden soil was on fire 2019–20.

Grevillea, 1980’s,
140 x 142 cm, cotton, appliqué – Personal design in Hawaiian style for Australian native plant.

Grishkin in her Garden Considers Mr Klimt, 1991
147 x 108 cm, hand drawn, heat transfer dyed rayon, silk, nylon, cotton, hand and machine stitching – I am very drawn to the work of Gustav Klimt, especially his imagination with and passion for the female form and the use of textile-like background. At the same time, lines from TS Elliot often pop into mind and Grishkin probably would have intrigued Klimt and vice versa. "Grishkin is nice, her Russian eye is underlined for emphasis. Uncorsetted, her friendly bust gives promise of pneumatic bliss". I have forgotten how the scansion goes and which of Elliot’s poems she is in (Sweeny Agonistes?). She has become a more elegant, proper lady than her gypsy self. It is unclear whether the garden is real or made of the fabrics which enfold her.

Gumnut Blossom, 1980's
74 x 79 cm, cotton, machine stitch, raw edge appliqué – Personal design in Hawaiian style for Australian native plant
Heart Trace Series
Some primal concerns of humans.

Heart Trace: #1 Five Acres, 1996
138 x 125 cm, shellacked muslin, dyed calico, linen and cotton threads, hand stitching – Many people yearn to work the soil, live with the land, its fruits and grasses. As well as satisfaction, there well may be heartbreak. There are limitations to ownership, and climate is a hard taskmaster. In this piece there are the dry curls of summer and fences… Nothing suggests ease of growth and juiciness. I live in a water-short state where only the southernmost tip is lush and juicy.

Heart Trace: #2 Grass Mother, 1996
137 x 125 cm, shellacked, painted, fused cotton muslin, linen, hand stitching – This quilt is to do with my work medium - textiles. The grasses play a large part in the production of fibre and textile.

Heart Trace: #3 Sacred Sighting, 1997
160 x 110 cm, shellacked, painted cotton, silk, hand stitching – This piece expresses a sense of the sacred. The glimpses are often fleeting, ephemeral, but at times, piercing. Layers often have to be peeled back.

Heart Trace: #4 Generation, 1997
160 x 132 cm, shellacked, painted, glued muslin, calico, linen and silk thread, constructed forms, hand and machine stitching – This piece concerns the link which is between all forms of life. Every thing alive depends on every thing alive.

Hide and Seek, 2016
83 x 27 cm, dyed silk, embroidery threads, hand stitching – Patterns and colours. A combination of stitching and drawing on fabric.

Hi Paul (They All Twitter Now), 2016
40 x 40 cm, linen, cotton embroidery thread, hand stitching – Reference to Paul Klee’s “The Twittering Machine” and extending on to electronic twittering.

Holiday Spirits, 2001
72 x 53 cm, dyed fabric, drawn, heat sealed, embellished, fabric gluing, vestigial quilting – Drawn to express freedom and high spirits and nice things.

Homage at Dusk, 1992
90 x 88 cm, cotton and synthetic, appliqué, reverse appliqué, hand stitching – I am fond of a male wattlebird (a ‘wattler’) which feeds in a grevillea outside a window. It delights in teasing the cat and clacks and squawks and generally lays down the law to everything in sight. Nevertheless it is gentle with the blossom and feeds with great elegance. It is especially active at dawn and dusk.

How Are Your Rugs Going Mrs C?, 2007
94 x 59 cm, hand spun wool, stitch
– A response to comments by Noel.

Ice Creams, 1978
150 x 95 cm, cotton, Suffolk Puffs, hand stitching – Made for Angela’s 18th birthday.

Interface, 1989
133 x 102 cm, cotton, transfer printed synthetic, hand and machine appliqué, machine piecing, hand and machine quilting – The relationship between plants, prints. Where different ideas come together.

*James is 1, 1991
52 x 49 cm, cotton, lurex, polyester, fused raw edge appliqué, machine stitching. *Listed in Marjorie Coleman–Lyrical Stitch as Timmy is 1.

Kangaroo Paw, 1980's
109 x 110 cm, cotton, polyester, hand appliqué, machine piecing – Personal design in Hawaiian style for Australian native plant.

Landscape (God works for Monsanto), 1990's
68 x 49 cm, hand dyed silk, cotton, hand and machine stitching – Irritation at Monsanto’s philosophy.

Leaf Litter, 2002
135 x 110 cm, hand dyed and commercial fabric, machine and hand piecing, machine quilting – Foliage, blossoms, seeds and detritus jumble in colour and shape on the forest floor. A return to an old theme of mine: the native plant form. This one is a stylized E. Pyriformis, a large fruited, gutsy mallee.

Lest I Forget, 2015
98 x 68 cm, woollen blanket, cotton, cotton thread, hand stitching – Memories and activities to do with my Father. A Gallipolli man and later a pioneer surveyor covering a great deal of Western Australia. He did the original survey of UWA. My Mother and I occasionally stayed with him on survey camps, though we usually lived on our farm in Denmark

Let the Cloth Speak: #1 Of Pioneers, 2000–01
110 x 46 cm, textile, newspaper, acrylic, twine, hand appliqué, hand and machine stitching – An attempt to let the medium (textile) alone express an idea instead of adding form. To tell through a single medium something of the life of pioneer women, that of hardship and make-do, of tents and whitewashed bag walls and simple cloth.

Let the Cloth Speak: #2 Of Princesses, 2000–01
110 x 43 cm, silk, cotton, hand appliqué, hand and machine stitching – This panel carries on the attempt made in a previous panel (Of Pioneers) in which the cloth alone speaks of a life, this of a soft, privileged life, whereas that of the pioneer woman was one of hardship and make-do.
At present there is no visual record of this work.
Lifeline, 2007
79 x 50 cm, silk, cotton, hand stitching – The image represents life on land, sea and air: all are interconnected.

Lifeline: #2 Land, Sea Air, 2015
113 x 46 cm, hand dyed linen, cotton threads, cotton tape, hand stitching – Land, sea and air – all lives connected.

Like, Crazy, 1986
210 x 225cm, cotton, polyester, machine stitching, hand tying – A modern version of a crazy quilt.

Like, Don’t Like, 2015
71 x 54 cm, linen, various fabrics, cotton thread, hand stitching – I like native plants and find roses a cliché.

Little Histories, 2016
160 x 18 cm, mixed media, glue, stitching – A series of 8 small panels connected vertically. Glamour, leavings, traces of silk, useful leftovers, finery, old politics, shoe accessories.

Littoral Piece, 1991
204 x 163 cm, assorted cottons, machine stitching – An expression of ocean reef shallows.

Log Cabin, (Front Side) 1990’s
213 x 230 cm, cotton, machine piecing.

Log Cabin, (Reverse Side) 1990’s
213 x 230 cm, cotton, machine piecing.

Martha's 21st Quilt, 1984
237 x 210 cm, cotton, rayon, machine piecing, hand appliqué, trapunto, hand quilting – Made as a 21st present for a vibrant daughter.

Memento Mori, 1989
109 x 95 cm, polished cotton, rayon, hand appliqué, machine embroidery, hand quilting – To mark the native plants overtaken by introduced crop plants. A personal memory.

Memo to Solomon, 1995
152 x 135 cm, painted and printed organza, lurex, hand and machine stitching – To see the beauty of fish when snorkelling reminds me of “Behold the lilies of the field; they sow not, neither do they reap yet Solomon in all his glory was not arrayed like one of these”. So how much more glorious are the fish?

Memory, 2014
150 x 50 cm, cotton, hand stitching – Note the division in the brain (right and left brain).

Menaces (Series): #1 Land (fire), 2007
63 x 59 cm, hand dyed cotton, polyester, stitching.

Menaces (Series): #2 Sea (longline fishing), 2007
67 x 65 cm, hand dyed cotton, found fabric, cord, stitching.

Menaces (Series): #3 Sky (cyclone), 2007
64 x 56 cm, hand dyed cotton, silk, polyester, stitching.

Menzies Banksia, 1980's
65 x 65 cm, cotton, hand appliqué, raw edges – Personal design in Hawaiian style for Australian native plant.

Moonflower, 1981
242 x 210 cm, cotton, hand piecing, hand quilting, decorative hand stitching – Expresses the delicate colour of a night-blooming plant which is strong and self-confident.

Moon Gaze #A, #B, #C (Vertical Triptych), 2018–19
116 x 51 cm, lamé, yarn, hand stitching – Text on artwork: #A ‘I gazed up and the moon was star-ing at me’, #B ‘The moon had an opinion’, #C ‘And…left’.
At present there is no visual record of this work.
Moore River, 1988
15 x 23 cm, cotton, hand stitching
– A view from our house in Guilderton.

My Grandmother's Garden, 1992
115 x 105 cm, cotton, heat fused, raw edge, machine stitching – The design inspiration was my Grandmother’s kettle and other familiar objects. It was made with distortions: distortions of childhood perceptions and memory. My Grandmother did not have a flower garden. Her real garden was the kitchen in which she grew in pots and jars. The copper kettle, I remember from childhood and just such a coffee jar. Reality distorted by childhood perception and memory.