much of my work revolves around grids, either found or created. the imposition of a grid satisfies my desire to find order in chaos through my art. weaving leverages the grids inherent in different substrates to find areas for creativity and innovation within a rigid structure. in this way, these works are experiments in finding a balance between following rules and breaking rules, maintaining order and disrupting it.



my fiber paintings are created from discarded clothing and other reclaimed textiles cut into strips and then bound together using various methods i learned from my mother and grandmother. some of the works are created with a substrate, often bird or deer fencing. others are free form. my process is intuitive and meditative, flowing from a place of improvisation and play. these works represent a conversation between my painting practice and my experiments with fiber. the frames used in some these pieces reference painting, accentuating ways i use fabric to mix and combine colors into worlds of abstract order, much like in my paintings. as in other areas of my practice, these works are about testing and creating rules and then stretching and breaking them.


i think a lot about gravity in my work, often the heaviness of the accumulated masses of fabric i acquire, but i relish in the relative lightness of these fringes. each strip hangs freely, untethered by the weight of the strips around it. while the lightness and independence of a fringe operates differently from the heaviness of a large crocheted piece, it is still a reminder of the impact we have on each other, how our actions have ripple effects on those around us.



these collages are inspired by my love for the incredible quilts of gee’s bend, alabama.  i am exploring using the remnants of interior design fabric samples and other collective detritus, repurposing at its best.



my sculptural practice is rooted in my interest in repurposing found objects. they are created using objects and recycled clothing and linens collected from my community. this work emerged amidst my angst over the “torn fabric of our society” driven into focus during and after the 2016 presidential election.  as i explore the form and colors of the original items, i am conscious of the history inherent in each piece, how these fabrics are imbued with the movements of the bodies and personalities that used them, and the identities that they imparted.  clothing impacts our sense of self. we discard parts of ourselves and try on new identities. as with individual people, the identity of each work in this series is determined by context.  these pieces adapt and morph, depending on whether stretched across a wall, pooled on the floor or pedestal, standing alone or engaging with another.  as we residents of america seek to figure out who we are in this divisive time, this work helps me engage with others, utilizing these remnants and artifacts of their lives to create simulacrums that are illustrative of a greater being, components of multiple people knitted together to create something new, interesting, adaptable, and beautiful.




facing the reality of climate change can bring up so much terror and guilt and we can become daunted by the scope of what’s really needed to create  a solution. i experience this despair often so i am driven to explore how we awaken people to urgent concerns without losing them to hopelessness? fear shuts us down and drives us away. i aim to create an energizing reprieve from this darkness; a world that draws people in and asks them to be joyous creators and more conscious consumers. my totems ask the viewer to consider what happens after we buy things we don’t need, without shame, and  they themselves embody one solution- the creation of  whimsical characters who reclaim and transform trash. each one alone is expressive and inviting; all together, they make an immersive and evocative world with more room for hope than despair.