Pacita always wanted to live in a loft with few walls and a lot of open space to hang her paintings. She finally found it in, of all places, the foot of Boston's traditional Beacon Hill. It was an unusual place, but a great space and a fabulous location, until winter came and the winds started whipping off the Charles River. In her excitement about finding a great loft, Pacita forgot about the heat, and that was a bit of a problem for about seven months of the year. It was so cold that Pacita had to walk around with a space heater next to her and often she would paint with her gloves on, but she loved the space.
Soon her paintings were covering the walls and this was the first studio/home that allowed her to paint big canvases, and this is what she did with the aid of a 12-foot step ladder that she found in a nearby alley. It was in this studio that she got together with other artists, and that she developed her trapunto technique with an idea from her doll-maker friend, Barbara Newman. Pacita's signature trapunto paintings began in this studio/home and they were big because fortunately she had the space to hang them.