I emphasize the experiential in cloth, rather than the descriptive. These cloths are not stretched or framed, but allowed to behave as cloth: to hang loosely and yield to gravity. Like many artists, I consider limits a strength. The random "seed stitch" is repeated thousands of times on each cloth and is the embodiment of time and perseverance. The relative "limitation" of stitched length and thread thickness precludes spontaneity in the usual sense. But the less visceral, less overtly personal mark provides a pulse or heartbeat to the surface of the cloth. The more active painted gesture is allowed to insinuate itself from beneath the stitches. My current work explores the politics of mark-making in contemporary art. Stitching counters received views about art. What is valid medium? What is valid subject matter? Who is the maker? So-called "women's work" represents an alternative history and practice. The physical nature of the stitched mark reminds the viewer of a kind of activity and maker marginalized in traditional art histories.