"I like the idea that each block, bar, and slat holds memories it cannot share, but can join others in a new story."

Artist Heather Patterson creates mosaic sculptures from salvaged wood. Her artistic journey began with a tornado in Maine, when she visited a friend's damaged house and found a bucket of wood scraps from the repairs. From the moment Heather first touched the materials, she felt captivated by their versatility, personality, and vulnerability. Over the years, she taught herself how to use table saws, mitre saws, belt sanders, and routers. Heather works from her home studio in Texas, and when summer temperatures rise, she shifts to painting, collage, and mixed media.

In this interview, Heather talks about her journey as an artist and the freedom she found in letting go of her inner critic.

Tell us about yourself.

My husband and I share a lovely home in Santa Fe, NM, the land of enchantment. When not working with wood, I can be found mosaicing garden totems, attempting to garden (I have a bit of a brown thumb), thrifting, traveling, and spending time with friends.

What are you most proud of—whether in art or another part of your life?

I am most proud of my 21 years in recovery from alcoholism. Without that as a foundation, my life would look very different today! I have the privilege and honor to give to others what was so freely given to me.

Do you have any studio rituals that help you get into a creative flow?

My only ritual is that I always begin a new piece while finishing another. I have found through the years that I don’t create well with an empty table or frame. There is always something in process, so I don’t have to work my way into a creative flow; I am always in it.

How do you structure your day?

I begin with coffee, meditation, and daydreaming! Beyond that, I am not very structured. I can work for 8 hours or in spurts of 15 minutes. It depends on what is unfolding before me, how loudly the wood is speaking, or how hidden the patterns are.

Where do you find inspiration for your art?

This question has always stumped me. I see inspiration in shadows, architecture, tree bark, tire tracks, but rarely have I made something that was a conscious thought. I have intentionally sat down to create a piece from a sketch, but truly, the wood drives the composition, and I never end up with what I thought would be the result.

Tell us about the moment you knew you wanted to be an artist.

The biggest evolution is that I actually allow myself to finish pieces. I never went to art school; I am a self-taught artist. For a long time, I felt less than because of that and had a constant inner critic—that whispering voice of "you don't know what you're doing," "this is awful," "no one will like it," and "why bother?" Freedom from that critic has opened me up to be more curious about materials, colors, and trying the "what ifs" that arise, while letting go of the results.

How do you decide when an artwork is finished?

I wish I had that much power over a piece! Just as I don’t decide the patterns and placement, I don’t get to decide when it’s finished. At some point, there is an internal knowing that this one is set and ready to be shown. I always say it’s finished when the wood stops talking.

What is the most interesting observation someone has made about your work?

My favorite thing someone has said to me came from a collector in NYC. She said the piece is different throughout the day and changes with the light, with the shadows creating new dimensions and coloring.

Is there an artwork from another artist that has had a significant impact on you?

About three years after working with wood, I discovered Louise Nevelson. It was a slight shock to my ego, thinking no one else worked with reclaimed or found wood, but I was delighted by her world. I’ve since read biographies about her; she really is my spirit animal.

What’s your favorite museum?

I tend to go more to galleries because of their rotating exhibits. But one museum I never miss is the Fuller Craft Museum in Brockton, MA. It’s a small museum with cutting-edge, thought-provoking themed shows, you can get up close to everything to really see how things are put together, and there is a fantastic outdoor space surrounding the building.

Is there anything else you’d like to share to help viewers better understand your work?

Wood is continually living, changing. It takes on the scent of its surroundings, becomes stained by the oils on your hands, and expands and contracts according to the weather. All the wood I salvage came from somewhere else and for something else. They are forgotten and passed over for the new, better thing. I like the idea that each block, bar, and slat holds memories it cannot share, but can join others in a new story. It reminds me of myself and of us, the broken beings seeking a new way to be found, seen, and made whole.

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If you enjoyed this article about Heather Patterson's life and artwork, we recommend reading about Shannon Amidon's encaustic art and Shyun Song's geometric paintings.