1 1 Names such as Alchemies, Moonbaskets, Lost Images, Ceremo- nial Cloths, Glyphs, Stelae are all dreams, feelings, sensations, emotions, landscapes, or meditations. I consider my Moonbaskets to be a clear example of thoughts woven into a surface . They express feelings that arose when I saw the baskets made by the Yanoama (or Yanomamo), a tribe in Venezuela known also as the Children of the Moon. I was fascinated by the compact straw basket-weave, the elemental enclosing shapes, the achiote-red patina, and, especially by the large, scattered circular motifs with which they decorated their baskets and their bodies. This simple act of adornment revealed to me the unity they perceived between themselves, their objects and their activities; the unity between their minds and the moon they revere. The plaiting I used to build the Moonbaskets was meant to recall the elementary construction of their objects . At this stage, I fully implemented, although on a much larg- er dimension, the original idea of painting and applying color directly on the finished woven piece which I had initiated with the Complete Fragments . I remember in particular trying to capture the green color that gold-leaf reveals on being lit from behind . In other works, I painted with red oxides and blues. I began to be aware that by applying color in this manner I was able to dissolve the geometry imposed by the rigid structure of warp and weft. From my earliest days to my most recent pieces, I have always been inhabited by color, yet I am still looking for its mysterious soul . During the early and middle years of my career, color was bound to fiber. Fiber was themedium for color and, for this reason, color was limited by the textile processes of weaving and dyeing. When I began experimenting with gold-leaf in the small series of Complete Fragments , I also began to paint fibers with acrylic paint and gesso. Soon it became 20. Blue. 21. Raw materials. 22. Red oxide. 23. Ceremonial Cloth iv, 1988.