This presentation focuses on an interesting and important time in Shapiro’s career, the mid-to-late 1970s the early 80s. During this period she leveraged the organizational grids and mark making (like connecting loops of yarn in knitting or hooking and knotting a rug) with her love of lines (think of a grid, the warp and weft in weaving) and passion for color to visually merge paints and textiles. Acrylic paint was not brushed or pulled with a palette knife on her canvases, instead, she extruded it from the tubes though a tip, painstakingly, drop-by-drop, transforming the fluid medium into individual “knots” of pigment. The resulting surfaces were rich and lush, full of densely pixilated pigment, casing shadows and providing depth on the surface like a woven rug. The complex patterns were the product of her use of mathematical algorithms, like the Fibonacci Sequence. The paintings includes chevron patterns zig-zagging across the canvas, spirals and elaborate short horizontal lines the created vertical columns and another pattern of angled lined spanning from edge to edge diagonally across the canvases.