S: I look at your collage and wonder which came first, the idea of the chicken or the picture of the chicken? How do these pieces happen?L: Sometimes I'll see an image and I'll see what can happen with it. Most of the time I scan the images at my disposal and pick something that strikes me.
Then I'll add to it, and I'll have a stack of things that I think might work. And then, I just get to work on it. Something usually arises out of that work that I haven't planned. I bring things together from different contexts until an image emerges that, in reality, couldn't be. I can't think of a time when I haven't been surprised at what happens, at the layered images that unfold. It feels as though it's not really coming from me, but coming through me.
S: Your work has, I hate to say it but, well, a religious overtone. Sometimes subtle, sometimes overt, sometimes earthy Native American, sometimes Judeo-Christian.
L: I've noticed that (laughs).
S: It's not cultivated?
L: I don't do it consciously. My awareness is naturally drawn to archetypal images. I think my unconscious is compelled to portray these images and let them play in these unusual visual contexts.
S: Another interesting thing is the media you work on. The work is more than the image, it's also the environment. How did that evolve?
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L: I was working on general metalsmithing techniques and, kind of coincidentally, I received a newsletter from the people who make the transfer material I have used to put these images on fabric. They were talking about using it with metal, so I just incorporated what I was doing in metalsmithing and made wall hangings -- collage on aluminum framed by copper. Whatever medium I choose, I keep coming back to collage. Collage on metal, on fabric, glass, mirror.

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