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In Mexico where she remained for five years (1959-1963) she began to weave in her won home on an apiculturist ranch in Taxco el viejo. She worked on a small weaving frame (she carries one with her wherever she goes -- a recent work was made flying across the ocean. p.  ). She also continued to work with the back-strap loom, as well as works which show the influence of the macrame of Mitla as well as the wrappings and the Tassels applied to Peruvian tapestry. These small works are in the nature of "studies" yet complete objects of art in themselves. For her daughter she made clothes, knitting, knotting wonderful threads in combinations. Also textile objects - shirts, sleeves, bouquets (in the Kunstgewerk Museum, Stuttgart) and fajas (skirts) in the collection of the Art Institute of Chicago where she had a one-man exhibition in 1963. In that same year she showed at Knoll Associates in Chicago and Knoll International in Stuttgart. Her work began to grow in scale. From the miniature 5 3/4" x 9", 195_ (p.   ) to the White Letter, 1962, 38"x 47 1/2" (p.   ) where, using wrap and weft in the smae fibre and color she "wrote" her "messages" with subtle variation of weave. The wrapped wraps and braided warp endings, first seen in her Mexican period were later to re-appear in a tremendous exploratory essay (p.   ). 
By 1964, Sheila had left Mexico and moved to Paris where a totally different kind of exposure brought her to another more expansive phase of her life and work. She had been in 1961 in France accumulating the experience of the great European tradition found in the museums and cathedrals. These iconographical references of painting and sculpture as well as the archaic and primitive wealth entered into her bank of ideas. She immersed herself in textills in all of their metamorphosis and diverse uses.