This work was created in and inspired by my one month residency at Pocoapoco in Oaxaca, Mexico. This is an extension of desert inspired work with a heavy focus on colors, textures, & found materials.


My Joshua Tree work relates the desert’s dryness, distinct palette, openness, transparency, & unknowability using techniques of reflection, obscuring, & suspension of movement.  Attempts to reason about the defined but seemingly empty space are organically accomplished through the generation of a familiar grid.


During my residency at the Icelandic Textile Center, I created larger-than-life moveable sculptures, created on & off the loom, using local materials such as wool, N1 cotton threads, & foraged plant material.  These large sculptural weavings interact with space both outside in the wilderness & inside the gallery walls & are supported by smaller, notebook sized, daily responses, embroidered, woven, & drawn, that reflected my learning & experience.


My work is on the continuum of dialogue between the grid & its manifestations as form, content, & medium through threads, weaving, & painting.  I utilize the power of the materials to construct architectural frames from which to build weighted objects in space, which can be examined in this body of work inspired by my California home. Linen, merino, & cotton are accented with indigo, precious metals, & various pigments that highlight the texture & dimensionality of a pebbled knot or stitch & transform a canvassed piece at large.


The grid is analyzed with both weaving & painting in relationship to artists Anni Albers, Agnes Martin, Sheila Hicks, & myself in the ways that the grid manifests between form, content, & medium through process, hand, & material. The work in my thesis exhibition, titled Reticulation, is described & explored as the culmination for my own thoughts & explorations.  


Experiencing the work reveals the materiality & inherent makeup of the natural fibers like wool, jute, & pine needles. The beauty of New Orleans culture & energy are highlighted in the color & hand of dipped merino tassels & dancing fringe.  The visceral experience of the work conveys a message of beauty & form that exemplifies my interpretation of the grid.


During a two-month residency living in a Provençal medieval village, I studied, collected, & created a body of work utilizing French indigo, or woad, threads from the grocery store, & found natural objects.  I respond to the inherent energy of the materials & how they interact & form my decisions, balancing the tension between my control & relinquishment of control through the process.  These works come alive with the energy & bricolage aspect of foraging my materials around Provence.