My projects often begin with quiet research—looking closely, reading deeply, and spending time with materials that hold memory. Whether I’m working in oil, egg tempera, or textile processes, I’m drawn to the layered relationships between place, labor, and material culture. Some pieces are rooted in archival or scientific research, like Hermit Crab Heaven, which grew out of a study of shell taxonomy using early 20th-century science books and included printing on fabric as a way to make that research tactile.

Across disciplines, I try to hold space for the poetic and the ordinary to coexist. Some works explore domestic and natural materials—cloth, pigment, paper—while others lean into color and form to evoke memory, wit, or local history. My practice often includes work that feels both grounded and open-ended, encouraging viewers to slow down and notice the fabric and woven nature of place and time. Many of my projects reference traditions in materiality, landscape, and craft, always with an eye toward honoring the everyday and revealing what’s often overlooked.