One of the most interesting things about Joyce Melander-Dayton has been her independence as an artist. Increasingly she has sought in her career a different kind of responsibility, in which the delight of decoration and the pleasure of a self-contained creativity take precedent over trends in contemporary art. Melander-Dayton finds much of her inspiration in folk art, design, and textiles- categories of art activity that tend to emphasize the work itself, whose function is often equal to or an important aspect of the artist’s own creativity. Recently, there has been an increased interest in folk art by the curators, writers, and viewers of the mainstream art world, in part because the vanity of authorship in traditional art circles has reached a troubling high. Melander-Dayton, like a lot of people, appreciates a lesser egotistical sublime, one in which the works finds a focus that highlights creativity rather than the excesses of facile personality. As a result, her sensibility finds its truths in works that keep in mind the untrammeled invention of an art whose achievement is based upon the artist’s quiet but sure esthetic.