The Meshes reference that most primal of textile structures warp and weft. I realized that if I substituted strips of painted and collaged wood for thread then the structural possibilities of the grid increased expediently. I could work with and recycle a far greater range of materials, above all the work looked tougher and more robust, less decorative. I regarded stitchery as a structural unit, the meshes allowed the thread to move through space physically. The construction allowed the viewer to jump between an awareness of detail and whole, between order and chaos. Depth, translucency and structure were cornerstones compositionally, as was rhythm, strongly influenced by minimal music and graphic notation. The idea of creating a personal ground to work on has continued to resonate over the years.