I am fascinated by sunlight and its effects, such as slowly changing shadows and lines, strong diagonal movements and contrasts in surfaces and materials.

My first beaten linen pieces were based on woven tapestry techniques. The center was beaten and formed, and the edges were a soft tapestry "frame". This initial work was quite small. These fiber constructions produced a three dimensional fabric structure. The techniques used were wedge and eccentric weft tapestry weaves.

I developed a process that fixes the loom woven linen fabric into a hard, unyielding and permanent form. The completed linen weaving is soaked in a solution of water and glue, and beaten to break up the twist of the spun linen thread. To smooth and flatten the surface structure, it is ironed and pressed while damp, and molded into a permanent form.

In further explorations, I wove large beaten squares which I mounted on wooden frames. The woven and beaten squares were painted, making the edges crisp. These evolved into woven "paintings". I think of these woven images as paintings that happen to be loom woven.

My miniature braided linen structures represent landscape motifs: the repeated elements, subtle colors, and textures found in nature.  They reflect the places I am fond of, the woods and gently rolling hills of my native Michigan.  More recently, the braided pieces are a response to the beautiful places where I have lived: New England, Northern California and Arizona's mountains.

My most recent parchment paper pieces contrast movement and change, and are affected by imperceptible wind currents.  These pieces, because of their loose instability, are in constant change and flux with shifting pattern and color.

National Endowment for the Arts Visual Artist Scholarship, 1983

Ford Foundation Scholarship, 1980

1988: Juror for Textiles entries for the juried Ann Arbor Art Fair, Ann Arbor, Michigan.

1986-1988 Collaboration with Linn Sandberg: Design and execution of a banner system for decorating the interior and exterior of the shopping mall, Princeton Forestal Village, Princeton, New Jersey.

1985: Lecture: “Tapestry Techniques”, Midwest Weavers Conference, Bloomington, Indiana.

1985: Lecture: “Tapestry Techniques”, Midwest Weavers Conference, Bloomington, Indiana.

1985: Workshop: “Tapestry Techniques and Design”, Midwest Weavers Conference, Bloomington, Indiana. 

1983-1988:  "Sandberg and Elgot Environmental Design".  Partnership with Linn Sandberg for the design and creation of art works for interior and exterior architectural spaces. spaces

1983-1984: Workshop Lecturer: “Synthetic Dye Systems”, Brookfield Craft Center, Brookfield, Connecticut. 

1984: Visiting lecturer: “Introduction to Textile Analysis”, Pine Manor College and American Institute of Textile Arts, Chestnut Hill, Massachusetts.

1983: Guest Lecturer, “Linen Forms “, Hopkinton Art Association, Hopkinton, Massachusetts.

1982: Guest Lecturer, “Linen Forms “, Weavers Guild of Boston, Auburndale, Massachusetts.

1982 Consultant to Costume Designer, Catherine Spingler, for play, "Ghost Sonata", and dance costume design and construction for production of "Presque", Clark University, Worcester, Massachusetts.

1980-1981: Workshop Lecturer, “Tapestry Design”, Spinners and Weavers Guild of Bloomington, Bloomington, Indiana. 

1980-1981: Associate Instructor: “Woven and Constructed Textiles Design”. Indiana University.

1980: Gallery Lecture, “Works in Fibers”, Louisville School Of Art, Anchorage, Kentucky.  (Supported by Kentucky Arts commission)

1979: Graduate Assistant: “Woven and Constructed Textiles Design”. Indiana University

1979: Workshop Lecturer, “Tapestry Techniques”, Yarns Unlimited,  Bloomington, Indiana 

Education

1981: M.F.A., Indiana University, Bloomington, Indiana. 

1978: Studied with Professor Cynthia Schirra, University of Utah summer program at Snowbird, Utah. 

1972-1977: Studied with tapestry weaver, Georgia Bick, Toledo, Ohio. 

1971: M.A., Eastern Michigan University, Ypsilanti, Michigan. 

1961: B.S. Wayne State University, Detroit, Michigan.