Artist Statement

I use craft techniques like punch needle, crochet, hand sewing, and ceramics to create multi-media artworks that explore imagination, myth, and queerness through a Gen X lens. I’m interested in how storytelling helps us make sense of personal and shared experiences, and in ways of seeing where the symbolic and everyday are closely connected.

Textiles, fairy tales, folklore, and family memory are central to my practice. I work primarily with reclaimed fabrics because of the histories they carry; signs of use, care, and wear become part of the work, allowing these materials to continue telling stories. I return to folklore and fairy tales as ways of exploring fear, desire, transformation, and loss, using these narratives to reflect on experiences of otherness and create spaces of connection. The figure of the witch (see The Witch, 2021) appears often in my work as a symbol of resistance, projection, and difference—a figure who has historically represented the fears, desires, and expectations placed onto those who exist outside social norms.

My visual language is shaped by the popular culture of the 1980s and 1990s. Films such as Labyrinth, The Last Unicorn, and The Dark Crystal introduced worlds where the magical and the uncanny coexist, while artists like David Bowie, Prince, and Annie Lennox expanded ideas of identity through ambiguity, theatricality, and self-invention. These influences, alongside the DIY spirit of punk and riot grrrl movements, continue to inform my aesthetic. Growing up queer in a small community, while living with anxiety and obsessive thought patterns, made me more aware of inner emotional worlds—rituals, fears, and personal narratives that continue to shape what I make.

Alongside my studio work, I also lead community-based projects and workshops. I see teaching as part of my artistic practice, and I use accessible textile processes to invite others into storytelling and making as forms of care, resistance, and connection.