I consider my works meditations on the beauty of rituals developed over time to satisfy the fundamental human need to mark important passages in life. Materials are chosen for their symbolic significance.

The "Mementos" series (1998-2001), was primarily influenced by 19th century memento mori hair jewelry and the contemporary practice of heaping flowers in makeshift shrines. The works were created with synthetic hair worked in needlelace techniques to edge and join rose petals. This series was dedicated to my mother, Virginia Sharrett. Phrases from her letters title the works.

In 2001, two seemingly simultaneous events refocused the direction of my work: first, my discovery of a collection of hundreds of guitar-string ball-ends amongst the belongings of my recently deceased brother, Scot Sharrett, a musician; second, the discovery by workers at the World Trade Center recovery site of a wedding ring that belonged to a passenger from one of the airplanes that crashed into the towers. For me, these circular metal rings, a universally symbolic wedding ring, and the personally significant tiny music "beads", symbolized the essence of ritual.

"Arrangements," the current series of works, incorporates rings inspired by these sources. The circular forms and compositions reflect the seamless continuum of ritual that binds the past to the present, and the present to the future. Mirroring the Buddhist mandala form, the circular shape enveloped by the square background of the "Arrangements" characterizes the infinite within the finite. The geometric schemes of Gothic cathedral rose windows and the numeric configurations of religious prayer beads inform the mathematical arrangements of the work.

In addition to rose petals and synthetic hair, new materials include rings, bone beads and handmade rose beads inspired by a 13th-century recipe for rosary beads. Works from the "Arrangements" series completed between 2002 and 2003 are sewn to a dirt backing. Works from the "Arrangements" series completed between 2003 and 2005 are sewn to a hand-tinted wax covered wooden box, drilled to accommodate stitching. Guitar-string ball-ends are used as a dedication to my brother, as are the song titles chosen to name the works. A variety of needlework techniques are used, including crochet, embroidery and needlelace. A ribbon embroidered with the title of the work and my name is attached to the sides of the wax boxes with carefully hammered small straight pins.

My work is represented by Pavel Zoubok Gallery in New York City where a second solo exhibition of my works will be presented in April 2009.

Guitar-String Ball-Ends Donations:
Paul Bloomstrom, Elizabeth Callen, Jessa Callen (harp), Mike Corso, Tom Crandall, Dana Cranmer, Larry Deming (violin), Nekia Caprice Fox, Abby Gardner, Fred Gillen Jr., Lara Herscovitch, Jake Jones, Shane Konen, Nicholas Mann (violin), Bill Massof, Rob Moore, Scot Sharrett, Rod Teets, Greg Tornquist, Brad Travis, Jack van der Mark, Mark Wasserman, Tracy Wilson, Jenna Young

Rose Petal Donations:
Bette Alexander, Roger Anthony, Lisa Breslow, Julie Brunner Cross, Jack Conrad, Connie Evans, Ruth Goodman, Melissa Green, Jennifer Harris, Jennifer Johnson, Ken Kamber, Ronnie Kamber, Amy Schichtel, Marion Wilson, Pavel Zoubok

Dirt Donations:
Bette Alexander, Jackie & Julius Alexander, Nancy Curcio, Suzanne Dunay, Marie Flores, Nicholas Mann

Denim & Ties Donations:
Boris & Sandy, Jackie Alexander, Jorge Arango, Robyn Field, Beth Henriques, Ken Kamber, Marcie Kesten, Nicholas Mann, Bill Massof, Andy McMains, Christin & Mike Ogryzlo, Julie O'Shea, Justin O'Shea, Dayle Vander Sande, David Sklaver, Walter Sharrett, Meagan Shein, Maggie Siedel, Kathleen Spicer, Sue Stafford, Jonette Suiter, James Tissof, Westchester Concert Singers, Josh Wimer, Luke Wimer

Technical Support:
Nicholas Mann, Laura Moriarty, R & F Handmade Paints, Richard Purdy, Cynthia Winika

Production Assistance:
Ken Kamber, Laura Moriarty, Brian Rumbolo, Walter Sharrett

Digital Photography:
Margaret Fox