The American Indian craft tradition of "kaduchi" is represented in our artwork by praying/thinking good thoughts as we create art such that the energy stays in the object for the recipient.

This was my first show piece. A 1 1/4" x 2" amulet bag ("Fairy Bling No. 101"). The name Fairy Bling No. 101 was for the AICH show mentioned below. The real name of this piece which will be featured in several colors, is "Carol". These photos by my awesome and very excellent friends, artists and documentary creators Jesse Cooday and Terry Jones.

This project was inspired by a life long friend, Laurie D., who requested a piece to hang from the neck no larger than a fifty cent coin. This piece was also inspired by and named for the mother of a college friend who is totally devoted to her family. She looks like Greta Garbo and has a Goldie Hawn laugh. Lovely woman, very nice family. Since this photo was taken spring 2005, it now features an elongated flap and is secured with a beaded loop clasp around the toggle. It holds a pewter angel coin within. Current pics forthcoming of that and also new creations to what is becoming a "line". Added wristlet and finger rings and earrings.

This piece was displayed in the show New York Mix: Art of the Five "Civilized" Boroughs during January 21 - March 5, 2005 in Manhattan (New York City) at the American Indian Community House Gallery presentation of NYC urban Indian art. This was the largest American Indian art exhibit (30+ mixed media artists presented) ever hosted in NYC to date, representing American Indians who reside on Manhattan or in the other boroughs. Some born in the boroughs, others from all over the continent). This amulet bag is dedicated to the musicians who graced Carnegie Hall when I came to NYC to get my life saved and the American Indian musicians who played for me when I was often too weak to stand, most notably gifted classical pianist and dear friend, Timothy Hays. In the process of making it I took it to several Carnegie Hall concerts to soak in the enormous healing energies.

I've designed a similar amulet bag with longer, flat flap and more brass ornamentation that will be photographed and posted at a later date. My beadwork and sewn textiles (bed linens, horse blankets, baby clothes, patchwork, quilts) and beadwork are in several countries, including Canada, France, Germany and Scotland.

NOTE:The following beadwork pictures taken by Steve Cowley.

I learned the basics of American Indian beadwork from Louis Mofsie, founder of the NYC Thunderbird Dancers; and the more detailed understanding of peyote stitch from Beverly Pallats a long-time member of the NYC American Indian community.

My birthmom, Nora, was a reservation raised/mission school educated Navajo who loved to dance. She came to New York alone in her early twenties to experience/enjoy city culture(and to dance, often, wearing her Navajo boots with her night club dresses). She died giving birth to me, her only child. My first 20 beadwork projects were dedicated to her memory and made as gifts of thanks to the New York American Indian community who welcomed my mother to Gotham City, just as they welcomed me when I came to NYC years later to find doctors who saved my life.

Size 11/0 medallion (my second piece) made for Louis Mofsie's class:

This 12/0 necklace made for Soni Moreno, song writer and cofounder of the world renown singing group, "Ulali" and newer group "Matou".

This 11/0 white flowered motif dedicated to University of Vermont professor emeritus (French/German/Dutch languages) Caroline Doane of Shelburne, Vermont who was a strong and devoted mother figure, born in Holland, educated at the Sorbonne. It is a large flap pouch with 15/0 toggle clasp, lined in white leather and owned by Caroline Doane's (and my) Burlington, Vermont College Street Church minister and his wife, Reverend David and Mrs. (Barbara) Wright.

This walking stick beadwork commissioned by Roman Catholic priest, Padre Mesa who retrieved and blessed World Trade Center 9/11 bodies for as long as they were allowed to stay in Ground Zero. He found the stick on Jones Beach in the 1980s, stripped the bark/oiled it and left it natural for two decades. I beaded it following the unsanded, natural contours of the stick using size 14/0 and 15/0 seed beads.