Statement

Rooted in fiber craft traditions I first learned from my grandmother—a skilled seamstress—and later expanded through making functional pottery, my studio practice is a way of knowing through the body, guided by muscle memory and material intuition.  I draw directly from quilt structures, sewing patterns, and fabric construction, translating those systems into unexpected materials like clay and repurposed landscaping tarps. 

That translation from fibers to other materials is not just formal, it’s conceptual. I first understood the transformative power of creativity through literature, and I approach my handbuilt forms with that same awareness of authorship, access, and voice. Feminist writing, including Emily Dickinson, Audre Lorde, Elena Ferrante, and Linda Nochlin, is central to how I frame the work. Nochlin’s question—why women have been excluded from dominant art histories—points directly to the conditions that shaped both artistic production and recognition. While writing has historically offered one form of access, textile and domestic craft traditions carried equally complex systems of knowledge and expression, often without visibility or attribution.

I use clay and textile traditions, materials and techniques that have survived and continue to teach us about ancient cultures, to assert the weight and permanence of those less visible histories. The work is materially dense, highly structured, and deliberately constructed—refusing any reading of softness as passive. 

These works, inspired by the handwork of others and translated from my body into the material, are complex multidimensional compositions that support an equally complex understanding of the human experience, especially the experiences of those who have been previously simplified, flattened, or overlooked.