It is a balance of not knowing exactly what you're doing all the time, which is something that a lot of artists wouldn't admit to of course cuz you're supposed to always know what you're doing. You're so together and really having a course. I'm control you're constantly making a million decisions. Do I use this color? Do I make them Walk This Way Or that way or do I erase it? Cuz I just made a mess or whatever. All these decisions are. I mean making a work of art is its is like making a million little decisions constantly as you go along. So there's that you should have an illusion of control perhaps and the thing is to find the balance ofLetting the peace suggest something and you're having a life of its own and the fact that you really are creating it. I mean it wouldn't exist without me in a sense looking at these the various media represented. Do you see connections between Leslie Woods up on the wall here and what is down so I do a lot looking back at the work. For instance the earlier pieces in the show the presences and the bags. When I started working with those pieces, I was interested in a number of things. I was interested in doing work. That was not so precious not so connected to a tradition of Western fine art images. Therefore. I liked using the rags. They were not considered proper for fine art materials and when they have been used in the form of say Fabric or you know yarn or thread or something they have the needle arts or something like that. They had been put down and not considered at all. So I was very interested in them for all those associations. They were cheap and I didn't have much money. They were easily there was a sense of physicality working with them, which I really like the sense of working with my hands with the materials of directness. They cannot be easily damaged. My cat could jump on the vacuum them to be know it had to do with short of the reality of my life, which was he has heard of hand-to-mouth nitty-gritty life. And when I've been living in Minnesota have been making these beautifully perfect surface acrylic canvas Uno Heritage shape canvas if I get everybody in the 60s made and you couldn't breathe on them and you know, you got a fingerprint. I know you really couldn't repair them. And in the meantime, my whole life has been one of patches and putting sewing that fragments together and stuff and I felt that this way of working really reflected my life much more than this perfect Immaculate smooth veneer surface that I had been making before so they all right so that fabric which had all these associations plus the association's have I gone women's traditional IRA and their for women Artform there for that could include women in some way they could relate to it rather than excluding them. These are things that I should have brought with me and they're in the work in different ways. Even today not in his conscious away for instance in the early presence is in the bags. The actual fabric came from women friends. In other words. If you are a friend of mine are we just met today? And you say well, oh I have a bunch of old curtains or sheets or shirts or something that I've worn out and have holes and then you give them to me and so I used all this fabric. It wasn't found fabric. I didn't go and buy it. It was like we cycled leftovers in hand-me-downs that I put in the work and it became a physical and sort of a metaphorical way for literally putting those friends of those women in my life in the work. So I feel the kind of the power of those pieces comes from the fact that there's all these women in that work literally and then Metaphorically, it would connect me to a tradition of women or women creators before me today. I'm using Rags again like the pieces over in Glen Hanson scary and I feel that the piece of still are as in, you know are made with a feminist Consciousness with you know, women in mine or my experience as a woman in his coaching mine, but it's not as overtly consciously done. In other words. It's more inside me at this point because it's 10 years later. Wonder if that's evident in art that you see coming among your friends the kind of change from overt conscious moves to this more and turn while I sit in some artists and the other hand. I see other artists who are really that has I meant I think maybe you were right there may have been a trend to that and it's interesting because you wonder what is it was some artists. It could be just a natural development in their work. It could be that the making a feminist statement is really just inherited who you are at this particular point in time. It could be expanding the Notions of what we originally thought was feminist imagery in other words. Maybe we had a very limited idea what that imagery could be in the beginning and so now we're expanding it and that's something that I'm interested in like developing a famous abstract imagery and iconography which doesn't really exist yet to what might it be or there or else we could say perhaps they've been co-opted perhaps they've been assimilated into the system and these are Catholics art structure which there for his tone down their images and see all these things are true for different artists. Then there are other artists. So I think very recently because I've had a sense of what you just described is existing. Have very consciously been trying to make overtly political art or propagandistic art and that exists to with a very strong overheard, you know feminist statement to it while other artists and working with it. No more abstract way some of them they called themselves, to Sardis. But you know, you look at the work and you it's not there. So I mean it gets used to gets misused. It's developed all these different things exist. I think but I think what really exists is incredible range of work being done by women who call themselves feminists. He would you care to venture a guess as to what direction we're going in. I feel like there's a much more of a pluralistic. Feeling a Nino a body of work being done stylistic body of work being done in the unit of art probably throughout the country by that. I mean, there's not one major art style and major art movement. And I think a lot of it really has to do with a feminist art movement that they've opened things up tremendously, whether it's you know, using different materials that have been associated associated with the whole thing of pattern painting decoration that now is big business in the art world really was opened up by women artists and I think that a lot of Notions about boundaries and personal space have again come from women and these are things that are common concerns in the work by both men and women we Many women artists we feminists artist need to keep pushing each other. What I want to see more is more of the work being developed. In other words. We have given ourselves permission to use any subject matter to make the work about our experiences women in this culture. Now, I want to want us to push each other and develop a feminist criticism, which I don't think comes from the outside. I think artists themselves. She participate in the development of a criticism that will push the work make our work grow. I mean, I want to work to be the best if some of it is and some of it isn't at this point and has a tremendous amount of potential. It's only still barely tapped.