Margaret Wood

Margaret Wood

AZ85016-001

Margaret Wood

Karen Musgrave

7/13/2009

Phoenix, Arizona

Kim Greene

Karen Musgrave (KM): This is Karen Musgrave and I'm conducting a Quilters' S.O.S. - Save Our Stories interview with Margaret Wood. Margaret is in Phoenix, Arizona and I'm in Naperville, Illinois so we are conducting this interview over the telephone. Today's date is July 13, 2009. It is now 9:01 a.m. Margaret, thank you so much for taking time out of your day to do this interview with me. Please tell me about your quilt "Navajo Moon 3."

Margaret Wood (MW): I first conceived of the idea for this quilt in and I'm looking at my notes, in 1984. I did a 12-panel quilt that was situated vertically, so it was three across and four down blocks. The image is of a round face with horns and facial features and the bases of the blocks are satin or taffeta, excuse me taffeta and the faces are of different colors of velveteen and the horns and facial features are made out of ultra suede. In Navajo mythology, there is a story about the sun and the moon, and they were carved from the same rock, and they had facial features, they had horns with feathers hanging off of them that would flutter in the wind and in Navajo sand paintings and depictions of them, the sun is painted in white or yellow and the moon is painted in gray or black.

The first quilt I did that I called "Navajo Moon" and the velveteen faces are kind of muted darker colors, hunter green, brown, navy, teal, teal blue and instead of feathers--I don't do feathers on quilts, they are just too hard to maintain, I put satin ribbons. They are attached by Abalone shell, which is a dark gray shell buttons. I was very proud of this quilt, but somehow, I felt that it was just one half of a project. I had it for a couple of years and I showed it in galleries and museums, but no one was particularly interested in buying it. I still felt that I should do the other half. After about two years, I started making the blocks for the other half and I was working on some of the blocks and picking out--well I was going to do Navajo sun with creams with taupe horns and facial features, ultra suede. A lady I knew saw me working on the blocks and my explanations stated the round face--one of the blocks might be a solid color of--say if we are working on the sun would be a solid color of cream velveteen. The next one over might be half and half horizontally one print fabric and then a whiter fabric below, or there might be half vertically one fabric and then a slightly different color on the other side. Some people say is that like the quarter moon or the three-quarter moon and it is not really, it is just the way of getting the faces individuality. This lady I knew saw me piecing these blocks for "Navajo Sun" and asked me what I was working on, and I explained it to her, and I was either able to show her a photo of)"Navajo Moon" or maybe I had it there with me. This would have been a booth at an Indian arts and crafts market, and she loved it and she said, 'Would you make me a king size for my bed?' That fit with having the second half even though this was going to be a lot larger than the first half, which was more like maybe a small twin size quilt. I made her the--and these were machine pieced, machine appliquéd, and hand quilted. I finished the "Navajo Sun" and I was very pleased, felt that. 'Okay now I can move on to my next project,' but I had another artist friend who had seen "Navajo Moon" at a show and talked to me about it and when I would see him, he would say, 'Margaret, have you ever done anything more with that quilt?' And I said, 'Well, no, not really. I don't know what I would do,' and he said, 'Well you might make up some four panels, making it smaller but keep with that theme.' By then I was doing more arts and crafts markets and it did make sense for me to have somewhat of a production line, so I did start making up four panel Navajo suns and Navajo Moon. I started doing one-panel wall hangings and then I did do pillows, pillow covers. I made and sold quite a few of these over the years but this past year in the fall my older son, Charles said--and I was really kind of surprised. I have two sons. My older son, Charles asked for a quilt for his Christmas gift, and I had been meaning to make them quilts. I was kind of collecting fabrics. I was collecting theme fabrics and he was a big baseball player and he liked to fly fish and golf and so I was just going to do a kind of block Patchwork something with all of these themes of things he had done. When he was a little boy, he loved dinosaurs. I thought, 'Well if they don't ask for something specific, they are going to get something that I just make for them.' But out of the blue he said, 'I would like one of your Navajo moon quilts.' It was his idea to do it horizontal, so four across and three down and he thought, and he was right, that this had a much more contemporary look to it. I started working on it in the fall aiming for Christmas and of course lots of things got in the way, but by Christmas I had it sandwiched and partially quilted, enough to hold it together and wrap up so he could see where I was going with it. I had to put it away for a couple of months because one of my big shows is in March and I had to get ready for it. After I finished that show, I was able to go back to it and finish the quilting and bind it. Now it is hanging in his apartment here in downtown Phoenix.

KM: Is it hand quilted?

MW: No, machine quilted. Over the years I seriously tried until about three years ago to do one or two hand quilted pieces a year, but that is not my favorite thing. It is a chore. I'm not very good at it. I've never been able to get tiny stitches, so I concentrated on at least trying to be even, but I don't have a great stitch and as I said it is not a lot of fun for me. I get bored. I do very little hand quilting anymore and I do almost everything machine quilted.

KM: Is there any plans for a "Navajo Moon 4"?

MW: Not at this time, maybe that's one thing that has run its course.

KM: Do you work in themes?

MW: When I had my small business and actually, I was incorporated. My husband and I set it up as a small business. I had to do production work to have things to sell. I do Indian arts and crafts booths at Indian markets and usually they are 10 [foot.] by 10 [foot.] spaces and I set up a U-shaped metal frame so I can hang quilts and I also do clothing, so I always had a rack of clothing, wearable art. Then I had the three walls in my little enclosure to show quilts. To fill that space, I had to do some production work, so they weren't all original. Well, they all are originals because I work out of my scrape bag, and I change the facial features around. Even "Navajo Moon" and "Navajo Sun" are all originals, even though they are the same pattern. I'm going to be able to close down my business at the end of this year. That doesn't mean I will quit sewing, but I won't have to do the production work and unless I get an order for one specifically, I don't think I'll make them anymore.

KM: Why are you closing down your business?

WM: I almost closed it down two years ago just because my husband retired and one reason, I started the business was just to give me something to do while I raised the boys and while my husband worked long hours. Once he retired we started traveling more and there just wasn't the need to keep it going, but at the end of about two years ago I found out we could get health insurance through this small business in the State of Arizona so I kept it going for an additional two years until my husband got to age 65, which happened in May, and so I'll finish out this year and try to liquidate as much as I can and then I won't have that. With the accountant and all the licenses and collecting taxes, it is work to keep a business going. I will continue to sew just fun projects that I want to do, and I have a website so people can check on my new work. I have a big project that I'm going to start soon and I'm very excited about it. At the end of May of this year I suddenly came up with the idea of doing an installation work about Monument Valley. Monument Valley is in northeastern Arizona. It is a Navajo Tribal Park and somehow there is a national component to it, it might be called a National, I thought a National Park, what is the level below National Park? Anyway, there is some affiliation with the U.S. Government, but it is a Navajo Tribal Park and there are sandstones monolith structures in a, it is a pretty large area probably I don't know 30 miles by 40 miles square. Probably people have seen the Mittens, which are two formations, and they look like mittens. There is a thumb and a hand, and they are opposite like a pair of mittens. Also, John Wayne filmed--there have been a bunch of Westerns filmed there, so I'm going to try to see if I can do an installation piece and do the monoliths to scale. Some of them will be two-sided. For instance, the "Mittens" will be two-sided and there will be a viewing stand hopefully a raised platform that will simulate the visitor's center and from there you can look out over the monoliths. Some of them, like the larger ones I might have freestanding quilt hangers and do three quilts to show that monolith from three different viewpoints and then you would be able to step down off the platform viewing area and walk in among the quilts.

KM: Wow.

MW: I'm really excited. I have to do quite a bit of research. I want it to be to scale somehow so I have to figure out what my scale is and see if it is possible because right now I have no idea how high the Mittens are say compared to, there is a monolith called "Two Sisters" and then there is one that is called, the Navajo people call it "Snoopy" because from one view it looks like Snoopy laying on top of his doghouse. Anyway, I'm very excited. I have, that has been my palette off and on for years; earth tones, yellows, rust, peaches, browns, so I have a lot of that fabric and it will be fun to piece it into these monolith images.

KM: Tell me about your interest in quiltmaking.

MW: When I was a young girl, I started sewing when I was nine years old on a Singer treadle machine that my mother had and it basically went forward and backward. It had been a treadle, but my mother had at some point a motor had been put on it. It went backwards and forwards, very simple and she let me play with it and when I broke a needle or got it terribly tangled with threads in the bobbin, she would clear it out and help me get it going again. I made doll clothes. I started sewing pretty early and then when I was probably between 10 and 12, I helped my mother tack a couple of utilitarian quilts and I enjoyed them, but actually I enjoyed sewing clothing more and I sewed a lot of my clothing when I was in college. I wrote a book called "Native American Fashion" and I consider myself an educator. When I published the book, it was to get the information out and it is about adapting traditional clothing designs to contemporary wear, and I did it for tribal groups all across the United States. I gave a history of the garment; I gave a photograph of the original garment and then I gave a photograph of my adaptation on a model and then instructions on how to make it. When I finished and published that book that was for my mind going to be a finished project, but I had so many people say, 'Well I love the skirt on page 45, do you sell those?' Then by then I had one small child and I started thinking well maybe that is something I could do while I raise my family. That is when we opened the business in 1981 and I was going to do clothing. I did clothing for about 10 years. It was very small-scale production, but it was an outlet, a creative outlet for me. It didn't take long to realize that clothing is, once you get your design and you do your samples and you get your sizing, that is the creative part and that is about five percent of the work and then 95% is promotion and sales and advertising. That is not as much fun to me. Along the way in 1977 actually I had made my first quilt as an adult, kind of as a challenge for my husband. I was just dabbling in quilts a little bit. I had opened the business in 1981, the same year I published the book. By 1982, I had a publicist who was trying to help place articles about my work in magazines and newspapers and she had placed a couple about my clothing and then she said, 'Do you have anything else you do that when I approach the newspaper or the magazines I can present?' I said, 'Well, I've done a few quilts,' and so she started getting me publicity based on my quilts which meant I had to make a few more quilts. I found them very creative, and I would do a completely different style quilt every time because I had all these ideas. I was thrilled at the freedom of expression and the variety of techniques. I get a great deal of fun out of figuring out if I have an image, I just very much enjoy figuring out what technique I need to use in order to create that image. About in the early nineties I started thinking hey wait a minute, quilts are a lot more fun than the clothing, so I started changing the focus of my business to be quilts. I still love clothes, I will always love fashion and clothes, but then I switched it so that instead of clothing with quilts as a sideline I now do quilts with clothing as a sideline. I do the quilts. I love fabric and I love sewing and I just find them a great way to express my creativity and this big project is going to be fun I think, if not at least I will do part of it and then stop. The fun thing too is once I get a basis of it then I can decide whether I want to add things later. My focus lately has been to tell some personal stories with my quilts, so I've done a biographical quilt of my father a few years ago and gosh I guess this last year I did a biographic quilt about my mother's life. That is why I quilt. I just can't help myself, I guess.

KM: Tell me about your creative process.

MW: That is fun too. I keep a file of ideas. When I get an idea for a whole quilt or a theme or I see some technique that is very intriguing to me, I make a sketch and I date it and I put it in my quilt file. When I've got an open space and I'm ready to start a new project and if I don't have an idea, I go to the quilt file and I flip through it. It is almost as if things are kind of ripening in the file. I'll pull an idea out of that. Occasionally I will find a sketch that is 10 years old. Since I'm an educator, I've always been interested in documentation, so I have been pretty good about quilt documentation. Now when I'm working on a quilt, I take that original sketch and I put it in my notebook with information about that quilt. So, I have made quilts where the original idea had been like 10 years earlier and there are other sketches along the same line until I actually have the quilt. I do a quilt documentation sheet that talks about the date and the size, I'm looking at my file right now. The name of the quilt, the size, how it was constructed, details about the fabric and the batting, the colors, the date finished, and then the description about the design, where I got the idea and some information about the design and the original idea. Occasionally though I get a vision, and this Monument Valley thing is almost a vision where I see in one flash the whole project. I can kind of envision the whole project and then it is just a matter of figuring out technique. I do lots of different techniques and I do lots of different looking quilts. It is not like you can look at one of my quilts and say, 'Oh that might be a Margaret Wood.' Not like Nancy Crow, because you can look at Nancy Crow's work and kind of know it is a Nancy Crow. You can't do that with my work. I do blocks, I do whole cloth, I do appliqué, I had to learn Mola technique, which is reverse appliqué for one quilt that the design in it that was the way it had to be done. That is where my ideas come from. The one quilt that came in a flash was called "Indian/Woman" and this is a personal story. I had been volunteering to keep an art organization named Atlatl, which is an American Indian Art Service Organization. I was keeping it going until we could hire a new director. Our previous director had gotten another job, so I was holding down the fort at the office for a few months until we recruited a new director, so I was a little stressed out. I was in the office and somehow a man from Arizona State University had gotten my number at that office, which was unusual because usually I give out my home phone as my business office phone number. Anyway, he called the office and wanted me to set up a booth on the campus on the mall at ASU [Arizona State University.] as a minority business owner and talk to students as they came by about what it is like to own a business and just be a role model. I do. I get asked to do appearances. Sometimes I'm paid and a lot of times I'm not, but I try to do one or two freebies a month and I think I had already done a couple of freebies that month and I wasn't too keen on; my first thought was where am I going to park. On any university campus that is always a question, where can I park and how far do I have to schlep my stuff to the mall because I would have brought a couple of quilts and I had my books, and I had my photograph notebooks. I have stuff and if I was going to fill a table and make a presentation, I had to carry stuff. He gave me the date and luckily, I was busy, I had something else on that date so I was able to say, 'Oh I'm so sorry I can't do that that day. I already have a commitment,' and he said, 'What about next year?' and I said, 'Next year is a possibility. Call me again next year if you need more people.' I was also thinking okay these are students so there is no way I'll sell anything, even if I don't get an honorarium for being there, I won't sell anything either. I got out of it. I had to get home to pick up my kids from school. I got on the freeway and I'm driving along and I'm thinking, 'How would I have dressed for that event? Did they want me to look like a businesswoman? A successful businesswoman says in a suit, or did they want me to look like a Navajo minority woman?' I got this flash of the back of a person dressed half in a business suit and half in a Navajo traditional style. The working title for that for quite a while was "Freeway Flash" because I saw the whole quilt and it was so exciting and I got home, and I made a sketch and I started on it within a few weeks. I was able to turn the office over to our newly recruited director, get back into my studio, and I think that was the first project I started on. It was challenging too and I decided to do a full size figure, so I had my husband trace my body because the hands were on the hips so there is that angle and I didn't want it to look like I had really short arms or really long arms so I laid down with my hands on my hips and my elbows sticking out and he traced me so it would be the right proportions and I had him mark where my waist was. Working from that I did a navy top that was half a business suit and half a traditional style Navajo blouse and then the skirt was half an A line skirt and half the Navajo tiered and gathered tiers of the Navajo traditional skirt. I put a human hair fall on it and moccasins because, well one side was a moccasin, and the other side was like a modern walking boot. One funny thing about it was I had been working on it on the floor for over a week and my boys had been in and out and of course they had been trained not to step on my quilts or my fabric if I had it on the floor and I hand appliquéd the garment to the base and I put stuffing in it, so it stood out a little bit. I had the garment on and then the last thing I had a human hair fall from my college days and it had a rounded hard base kind of hard mesh base to it. I sewed that on for her head, so she had long hair that came down past her shoulders and that was the last thing I put on. To work on that, I laid her on the bed. I laid the quilt on the bed and I sewed on the hair and my younger son came home from school about an hour and a half earlier before my older son, so my younger son stopped in the doorway of my master bedroom where the quilt was and he came back to me, I was in the kitchen, and he said, 'Mom, it looks like there is somebody laying on the bed,' and I said, 'No, that's that quilt I've been working on,' but when I put her hair on it, it did look like someone was laying face down on the bed. An hour and a half later when my older son came home, he did the exact same thing. He stopped in the doorway of my bedroom. By then I was in the bedroom, and he said, 'Is that someone lying on the bed?' [laughs.] So, it was very effective. When it was up on the wall it was, it still is, and that quilt is owned now by Michigan State University.

Actually, I got an order to make a second one and so I've done two now. There was such a long space in between them I had to reinvent my techniques because I had not made very good notes on how I made the first one, so the second one. The oddest thing is I always felt the first one was a little chunky, so I was determined to make the second one a very slender woman and again I had my husband trace me and I'll be darn if she wasn't even chunkier than the first one. [KM laughs.] I thought, 'That is not what I wanted,' but of course it has been like 20 years later and so even though I had in my mind to make her a very slender, she came out even chunkier. So that was kind of disappointment, but it is reality because I am chunkier now. That's the other way I get my idea occasionally is just to get a flash. Sometimes I dream ideas and when I wake up in the morning, I sketch them. There really is an interesting creative time when you are kind of half asleep or half awake. I'm aware of that now and I do try to relax and let my mind wonder and some of my ideas or parts of ideas have come from that kind of twilight sleep.

KM: What does your family think of your quiltmaking?

WM: My husband is my best cheerleader. He has always been super supportive and very proud of everything I've created. Of course, he has been my financial support through all of this, but he has been great. He originally was my photographer, but over time it was just too hard. [laughs.] You think you take a still day and you are going to photograph quilts only there is a little wind, and the corners keep flapping so eventually I started using a professional photographer to document my work. He has been super supportive. The boys have been respectful I should say. I remember one time especially I had a little workroom off of the family room and I just ironed some fabric and laid it over the corner of the couches that sat kind of in an L shape in the middle of the room and one of his friend's, Aaron, was over and they were having a snack at a nearby counter and Aaron inadvertently was kind of leaning up against the couch where I had just laid this freshly ironed fabric and before I could open my mouth, and Charlie didn't know I was aware or watching, I was sewing. Before I could say, 'Ah.' Charlie said, 'Don't lean on that. My mom has put some fabric there,' so I was so impressed. I thought, 'Well he noticed the fabric.' I was interested that he would ask for a quilt and that he would ask for this particular quilt that started this whole interview "Navajo Moon 3." I should mention "Navajo Moon 2", the couple that bought 'Navajo Moon 1" have always hung it in their various homes and they have a beautiful Indian art collection and I've been in two of their homes over the years and seen it hanging and they have another friend named Raven who has seen this quilt in their home many times and Raven called me and said, 'Would you make me one?' So, I made also a 12 panel for her a few years ago and she said, 'Because I love the one the Bermans have so much,' so I made her a different one, different colors and that was 2 and now this one for Charlie and these are the full-size ones with 12 panels. That is where we get to three.

KM: You mentioned doing a variety of techniques. What is your favorite technique?

MW: I don't know that I have a particular one. I kind of enjoy the process of machine appliqué. It is very satisfying. Basically, it is just a way to get to where I want the look of the quilt to be, so whatever I have to do I do to get the look.

KM: Describe your studio.

MW: It is a large room, probably about 14 feet wide and 20 feet long. I have two sewing machines and a serger. I have a large 4 by 8 worktable. I have a couple of storage units, some with cupboards and some open face where I stack my fabric. It always looks a mess, but I know where everything is, and it is organized [laughs.] it is organized enough for me to find what I need. I've got fairly good light. I wish I had more windows, but I don't. It is on the north side of the house, so I have north light. My machine is near the window. Nothing really spectacular about it. Sometimes I see the studios of some artists that are architecturally designed with soaring ceilings, it's nothing like that. It is pretty much a work room.

KM: How do you want to be remembered?

MW: I'm proud of what I've produced. My earlier work was a lot of geometrics and just pretty quilts, I thought pretty quilts. With my personal stories I think I convey not just my own personal stories but stories that people can relate to. For instance, one of my quilts is called "Charlie Wood's Stoma." My father was Charlie Wood and in the mid-nineties, 1990's, he was diagnosed with cancer of the larynx caused by smoking even though he had quit smoking about 12 years earlier the seeds had been planted. He had a tumor on his larynx that wasn't diagnosed early enough so at one point he had to have his larynx removed, which is the voice box. After surgery, he had to have radiation. For radiation, they make a plastic mesh mask for people that are having radiation on the face. If it is on the body, they just take a Magic marker and they mark Xs on the body because for radiation to be successful, it has to be shot at exactly the same point every treatment. If it is on the face or the neck, they do this like mask and then they put Xs on the mask to line it up. Every time he would go in for a treatment, once they made the mask, they would put it on, line up the radiation beams because he needed things on his chin and neck. Then they would take off the mask and do the radiation treatment. After six weeks, they are done with the mask, and he was done with treatments, and they offered it to him. They said, 'Mr. Wood, we are done with this, do you want this for any reason? Otherwise, we will just throw it away,' and my father could no longer speak but he was still very expressive, and he indicated no [laughs.] he was not interested in having it. The radiation had been very hard on him and me because I took him over there every day and he stayed with me, but I said, 'Dad, do you mind if I take it? I might do something with it,' and he said, 'Fine, take it. I don't care.' so I took it and it took me a couple of years but I made it into a quilt and so it stands out from the quilt about three and a half inches, his nose, but it is a mesh so there is places to hook it on, to tack it on and I put in Seminole Patchwork because my father was Oklahoma Seminole Indian and I made this in 1996 and I was able to show it to him before he died in 1997. There was Seminole Patchwork in it. The predominate color was blues because my dad, that was his favorite color and then in it there is a border of white and red, long white, short reds that simulates the cigarettes that cause the cancer. I had a slide of this and he had died in 1997 and I think it was in '99 I was doing this slide presentation and I had reviewed my notes and I do this mental thing about what I'm going to talk about for each quilt and I got to that slide and I hadn't talked about it since my father had died and I couldn't talk and I had to pause for quite a long, 20 seconds or 25 seconds, and then I talked about the quilt and I explained that, this was the first time that I had talked about it. I had shown it while he was still alive, I had shown it and talked about it, but that was the first time since he had died that it had come up. After the show, a woman came up and hugged me and said she understood. I guess she had lost her father to cancer also. [cries.] I think that quilt makes connections to a lot of people and the way that cancer has affected so many families.

My story about the half--I didn't entirely finish the story about "Indian/Woman" with half business suit and half Navajo traditional. I talked about that quilt and I showed it in my slideshows for about five years and talking about how Indian women, this woman was split, that when you are a minority woman you, if you work in an office say, often times your coworkers are Anglos so you work with Anglos and then you go home to your Indian family or you work in Phoenix and then you go home on the weekends or once a month you go home to the reservation and you are with your Indian family so you are kind of jumping this line between being among Anglos and being among Indians and you are kind of torn in half and then you have children and what do you teach your children if you are raising children in a metropolitan area away from your family. At one point when I was talking about this quilt of this split in half woman I realized, and it took me five years, I thought, 'That is me.' It was further evident by the fact that it was a tracing of my body [laughs.] and it was my hair but the fall that I had, this human hair fall that I had when I was in college. It took me five years to realize that was me.

Anyway, these stories and the Indian--oh another thing with one of my quilts called "Ribbon Shirt Quilt" I made a quilt that shows from the back different styles of ribbon shirts. Now ribbon shirts are a Plains Indian garment. The basis is the fringed leather shirts of the Plains Indians and over times things developed, they got woven fabric, manufactured fabric and they got ribbons and so they started using the ribbons to simulate the fringes on the leather garments and over time this idea spread across the country so most tribes, many tribes across the country make ribbon shirts and they are worn by everyone in the family, grandma, grandpa, mom and dad, babies, and even teenage kids will wear them to say a social event. Different tribes sometimes will make a different style. For instance, the Seminoles make ribbon shirts, but they always put a strip of Seminole Patchwork and then they slip the ribbons in underneath. They put ribbons on it somewhere, but they almost always put a strip of Seminole Patchwork say across the back yoke. I got this idea to make a ribbon shirt quilt and I think there is 12 panels and different, sometimes it will just be an Indian inspired print fabric with ribbons on it, almost always there are ribbons sewn into the back yoke and then they hang down the back of the shirt and they will put a row or a couple of rows of ribbon on the cuffs and on the collar. Sometimes there is a bit like theme of ribbon on the front. I decided to make this ribbon shirt quilt and with 12 different blocks, each different fabric, each with the ribbons kind of arranged differently. When I showed it, if there were Anglo people around, I would go through this whole story that I just did for you, you know the inspiration, the tribal that do different looks, and everybody wears them. I would go through that whole story, and I would say here is some samples of 12 ribbon shirts and I watched a couple of Indian women walk in, they saw the quilt and one said to the other, 'Hey look there is a ribbon shirt quilt.' I did that for the Indian people. I knew they would know immediately what it was. That was very satisfying to know and to have that reinforced that they would know exactly what it was. That quilt is now in the collection of the Navajo Tribal Museum in Window Rock, Arizona. I think my personal stories are the main ones and those that deal with my Indian heritage are what I want to be remembered for.

KM: I want to thank you for taking time out of your morning to talk to me. Is there anything that you would like to share that we haven't touched upon?

WM: I had wanted, and I've already done it to talk about my latest project, Monument Valley installation work. I'm very excited about it. It will be fun to be able to concentrate on it and not be thinking about my next show and do I need to make some more vests or [both laugh.], little wall hangings that might sell. I don't have to worry about the production work so it will be fun to just be able to concentrate on it. I think I'm going to try to do a blog type update diary thing on my website. I have to figure out how to do that, but I know it is possible. I will be keeping you posted on my website which is www.margaretwood.net.

KM: Excellent. Thank you so much for taking time out of your day and we are going to conclude our interview at 9:54.