During the height of the pandemic, I had limited access to my studio. Supplies were difficult to order and obtain. Faced with a limitation of materials, I had to transition from assuming I could acquire whatever my imagination conceived of, to creating using whatever I had on hand. I began making encaustic monotypes using beeswax, resin, and pigments, and a variety of papers I had with me. This method of printing involves melting pigmented wax on a heated surface (a hot palette) and then laying paper onto the melted wax. What results from this method of printmaking is a monotype (called such since it is only one—mono—print created). The monotypes started accumulating and the constraints of time and materials forced my work to transition to a new direction. I began cutting the prints apart and weaving them together in new ways, creating what I began to see as essential fabrics. Rethinking my creative process and weaving the various prints together allowed me to let go of any preconceived notions about my work and where it was headed. I was able to use the act of weaving as meditation and contemplation; a way to calm my mind and transcend, although briefly, the chaos that was unfolding in the world around me. Above is a selection of woven pieces from the last year and a few of the monotypes that inspired them.