Woven Mat

The field is left entirely open in a soft, unbleached ivory, divided into panels by three narrow vertical seams of grey cross-stitching that run the full height of the piece. The stitching varies in density along each seam, tightening into small x-shapes at the center panel and loosening toward the sides, giving the plain surface its only pattern. A matching grey whipstitch finishes all four edges, and natural striations in the ground tone reveal the subtle irregularity of the joined panels.

A plain oatmeal ground is left largely open, interrupted only by an angular cluster of striped triangular and kite-shaped patches gathered toward the upper-left of the field. Each faceted piece carries its own fine striping in ivory, taupe, olive, and dark brown, with a single shard of red-and-cream stripe breaking the muted palette; the edges of every patch are finished with visible blanket stitching in a contrasting thread. No border is present, and the composition reads as a single asymmetrical burst rather than a repeating pattern.

An irregular, star-pointed format built from four large octagonal panels in a plain cream ground, joined by narrow striped connecting bands in taupe and ivory. Each seam is finished with a visible whipstitch edge in a contrasting thread, and the overall outline zigzags outward into sharp angular points rather than following a conventional rectangle. The palette stays within a narrow range of cream, oatmeal, and pale grey-beige throughout.

Cotton and linen.

The surface is divided into four ivory panels, each set at a slight, independent tilt within a narrow taupe frame, so the grid reads as slightly off-kilter rather than perfectly aligned. A fine striped band in soft beige and grey tones runs between the panels, crossing at the center, while each inset square is finished with a visible whipstitch edge in a contrasting thread. The overall palette stays close in tone, moving gently between cream, oatmeal, and pale taupe.

Dark brown field with camel striped fans.

An entirely open, undyed field in pale ivory, its surface broken only by an interlocking pattern of rectangular panels joined with visible overstitching, forming a loose brick-like grid across the whole surface. There is no border and no ornament beyond this seam structure, the tonal variation between panels created solely by the natural shifts in the ground color. The composition reads almost as an abstract patchwork rather than a decorated field, with the stitched lines serving as the only pattern present.

Wool and natural linen.

A geometric composition of pieced squares and rectangles arranged in an off-kilter grid, each segment joined by visible whipstitched seams. Plain fields of solid taupe and ivory alternate with narrower panels of vertical stripes in brown, tan, ivory, and touches of rust. The overall palette stays within warm neutrals, with the striped sections providing the only patterned contrast to the flat, block-like fields.

An undyed field pieced entirely from natural striated tones of beige, taupe, and warm gray, arranged into large triangular and diamond sections whose seams are joined with visible whipstitching in cream thread. The directional striping within each panel runs at contrasting angles, producing an overall zigzag or chevron effect across the surface without any additional border or applied motif.

Composed of two joined panels, the field is organized into broad horizontal bands: wide ivory registers at the top and bottom framing a dense central zone of dark brown striping interlaced with narrower lines of medium brown and taupe. A visible vertical seam runs the full length where the two panels meet, and the edges are finished with a simple overcast stitch in a contrasting tone.

An entirely open, undecorated field in pale ivory, divided down the center by a single vertical seam joining two panels. A narrow herringbone-stitched band runs along that seam, the only textured element on an otherwise plain surface.