I am a multidisciplinary artist living in the New York area, working across drawing, collage, textiles, sculpture, photography and installation. 

My two-dimensional works blur the line between the flatness of two dimensions and the space and volume of three-dimensionality. My drawing is often composed of repetitive marks, circles, curved lines and pattern. For me, the process is meditative. 

My sculpture is nonobjective, incorporating three-dimensional raw craft elements—fabric, trim, clay, wire, and other found and raw materials I collect and stockpile—with a two-dimensional drawn or painted element on paper. While the drawn or painted element is made either on the spot or chosen from scraps in response to the developing piece, the craft elements utilize raw materials that lack context until they are given form. Combining a conventional fine art element with nontraditional materials in unexpected ways levels the hierarchy of materials to form a complex yet unified and multilayered object within a visual and physical space. 

I create individual sculptural pieces, as well as multipart groupings where each piece can remain in the group, exist independently, or be reused in another group. These tactile works challenge traditional boundaries of dimensionality and media. Working three-dimensionally, I use color and line to draw and paint in space. The works possess a theatrical sensibility, exploring opposing dualities and the formal language of sculpture through the tension of line, shape, color, pattern, texture, space, weight, and gravity. I think of the multipart pieces as sets that exist together in relationship and dialogue with one another in a playful, elegant, and poetic way. I also make constellation-oriented installations composed of various elements and sculptural props.

Working with materials in unconventional ways seems like second nature, connecting to a family history of sewing, dressmaking/tailoring, craft-making, and fine art. I come from a ceramics background and serve as the curator of a nonprofit art gallery where we show works of all media. This curatorial role has sharpened my eye and sensibility, and directly informed my studio practice—from my use of materials to the connections I create between objects. I worked this way before becoming a curator, but my practice has intensified since taking on the role. While I previously made collage, that part of my practice has also grown, whereas drawing really only started once I began curating. 

I am influenced by various Postmodern art movements and inspired by a wide array of fine art, craft, and design sources, including installation and participatory art, as well as dance, music, yoga, fashion. I am also interested in nature, cosmology, natural phenomena, memory, hypnagogia, proprioception, and phenomenology, as well as cultural traditions and the symbols born from them.  I often feel that everything holds intrinsic interest, viewing the world in a constant state of curiosity and wonder. My practice is a dedicated exploration of these themes, driven by a commitment to create something inherently positive, joyful, luminous, immersive, and atmospheric. As such, a viewer may experience my multipart works and installations feeling as if they are in the midst of an active thought process. 

I am research-oriented and material-driven. While I generally start with an idea, I make decisions as I work and welcome random occurrences and happy accidents. Many ideas are intuitive and figured out on the spot, while others generate from working on another piece. Cast-off material is saved and eventually finds its way into a later piece. I naturally work quickly, but I also enjoy working on longer projects. I explore an idea deeply, but after some time, I am driven toward new ideas and experimentation. For me, the works provide clues to an ongoing and thought-provoking visual treasure hunt.