State Roads is a series of quilted tapestries featuring walls, facades, and buildings found along southern state-roads that question the memory of a place

Planta di Man

Found textiles, digitally printed cotton, thread

About 60 by 69 inches

2022

Cas Recuerdo

Digitally Printed cotton, walnut dyed cotton, thread

About 43 x 68 inches

2021

Repeating Knots

Digitally printed cotton, woven cotton, dock cleats

About 40 by 42 inches

2021

Late Light

Digitally Printed Silk, Vintage Curtain, Thread, Brass Hardware, Found Shells, Found Photos, Driftwood

About 40 by 32 inches

2021

Pale Blue: Pale Sky

Digitally printed Silk, Cotton, Thread, Brass Hardware, Found shells, Found Photos, Sharks Teeth

About 45 by 36 inches

2021

The Edge of Knowing

Digitally printed silk, Screen, Looped Video, Curtain Rod, Thread

About 55 x 72 x 5 inches

2021

Pasenshi Mi Yui

Digitally Printed Silk, Gold Leaf, Hand Dyed Silk, Yarn, Fount Photographs, Wood, acrylic

Mixed media tapestry features silk printed with a detail of a stucco structure that has been weathered by wind and salt air. Overlaid is hand manipluated materials, that combine to create a complex interwoven material exploration.

About 40 x 38 inches

2020

Nabegá

Digitally Printed Silk, cotton, thread

The digitally printed silk features an image of my grandmother’s courtyard in Oranjestad, Aruba. The silk is combined with cotton quilted in a variation of a flying geese quilting pattern.

About 48 x 60 inches

2021

Sunspots

Digitally Looped Video, Screen, Cotton, Acrylic Paint

Sunspots features a digitally create time based media. The work displays a text based poem built from traditional quilting pattern names from the Southern United States of America. The screen is set against a painted gathering of cotton displaying a flying geese pattern.

Variable

2021

Not Quite There

Cotton, Avocado Dye, Yarn, Matte Medium, Found Photographs, Lavender

About 28 by 26 inches

2021

Soft Spot is a series of manipulated quilt remnants and found photographs that are held together by wool. The action of felting the wool to the quilt is the only material holding the ephemera in place. Each iteration combines specific imagery with specific patterns, responding to the style of textiles, weathering and size of remnant. This is an ongoing practice of mending and manipulating materials.

2018 - Ongoing

1. The In Between Moments

Cotton Yarn, Antique Yardstick, Found Photographs

About 36 x 38 inches

2020

Soil, Clay, Seeds, Paper, Ink, Woodbox, Branch

Ongoing 

In collaboration with artist matthew anthony batty Blanket of Reconciliation is a project attempting to find nuances and empathy with land through take away style envelopes of seed balls. These balls contain indian blanket flower seeds, in hopes that folks help repopulate native flowers in the southeast.

I Hope I Thank you Enough is a multimedia installation built for the New Orleans Film Festival Cinema Reset exhibition. The handwoven curtain of cotton acts as a backdrop to a vertically placed screen featuring looped digital video featuring scanned images, contemporary moving images, and an audio interview. The work allows for an intimate moment in high traffic area of the film festival, allowing folks to perform the action of listening and allowing space for empathy and a moment of quiet contemplation. The woven curtain features hand dyed cotton yarn and was woven in strips on Leclerc counterbalance floor loom, then pieced together on a sewing machine.

Moving Images also displayed as a part of the NOFF Cinema Reset exhibit include Dwelling Growth & Pieced Vessel

20 minute Looped video, Black Spandex, Clean Room Sticky Mat

2017

I Love You. I Love You. Olive. 

Appropriating 6 movie characters saying I love you, the work repeats a phrase of weight in volume matching those of the waves that push and pull in a 20 minute looped video. The steady movement mesmerizes a viewer before they notice the red tint creeping in until all is engulfed by the intense color.

However to experience this space of rushing love and movement viewers must clean their feet to enter the zone of suspended black stretched fabric hovering above the floor. 

Urgency, tranquility and control converge to remind one of the abundance and scarcity of love. 

Lace Curtain, Wool, Spanish Moss, Wood, Thread, Projection, Looped Video

2017

The work projects on and past a needle felted lace curtain, with six feet between wall and screen. Projections of abstracted, pixilated, unfocused, and manipulated photographs allows color and light to push though the felted object. Soft and hard materials begin to mimic memories.

Naturally Dyed Silk, Flag Poles

2017

Light fabric hovering between and above. The soft flags react as one approaches, gently drawing in and out. Blush and bashful silk speaks to many roles, uses and contexts.

Vulnerability of an Archon

Cotton, Vintage Collar, Ironing Boards, Table Tops, Head Board, Shelving

2017

The visual history of photography is rooted in two roles, that of the subject and that of the viewer. Traditionally these roles have belonged to the male gaze as viewer and the female form as subject. One place this gaze has been contradicted is in the realm of the public monument, specifically looking to those of the south in which men whose leadership is rooted in violence and power of economy are the main focus of gaze. What begins to be questioned when these roles are placed in disjunction? What does it mean to place a womyn's body on a pedestal, as art through history has done, but in the manner of power as a male leader of the past? Who will become the viewer and what will they feel is their role in viewing a live female body that is placed on items of the home? 

The work created features a 5 foot pedestal like structure made out of deconstructed home furniture. Specifically dressers, ironing boards, shelves, cabinets and tables. During the duration of performance the structure featured the artist upon the pedestal. The figure's body covered by a cape made of loosely woven cotton fabric. The cape during the performance draped to the ground and in by way covered the structure. A small distance from this structure there was binoculars for viewers to use in order to see the monument in its details. 

Interactive web-page

2017

Family photos, Audio, Recipes, Vintage Doilies

An interactive web-page has been woven together to preserve the objects often forgotten. These family ephemera meet in depth and distance through a digital manipulation. The web-page invites participants to see and hear what could be passed over, yet holds on through new contemporary processes. Like a new form of digital archiving one views history through portions of recipes, untouchable textiles and multiple languages. 

Performance/Installation

2016

Projectors, Lavender, Textiles, Vintage Quilt, Antique Dishes, Shears, Vintage Hairbrush, Audio, Digital Projection, Antique Lamps, Handmade Quilt, Moss, Yard Stick

5 participants: Performer, Lover, Friend, Mentor, Stranger

Light of overhead projectors within a dark room allow the images of southern womyn leaders to be distorted and narratives at some points be unclear or disrupted. Using imagery to deconstruct and muddy the narratives  worked to create space for an audience to rebuild narrative around ones-self and their placement in the contemporary midwest. Bundles of lavender lined the walls, and taken by visitors in order to learn the names of the womyn projected in the space, providing an opportunity for education and conversation.

An audio component included in Dama Djanochi is a story of how Spanish moss came to the south. These voices and rhythms will gives the stagnant imagery and quiet performances a magical and concentrated power. 

Performance: during the night the artist performed a work which involved the audience witnessing the mundane yet meditative practice of brushing ones hair, then braiding the hair into four braids. Once the braids were produced four collaborators presented themselves to collect a pair of sheers and cut a single braid from the head one at a time. Each participant stands for a totem: a lover, a friend, a teacher, a stranger. The totems of whom a womyn is taught to desire approval from in life. Each braid was placed in a vessel , then pieced apart the strands and placed upon a hanging antique yardstick with Spanish moss.The performance was executed in company with how Spanish moss came to the south according to the story within the sound piece.

The performance lasting about 45 minutes occurred with artist and audience seated upon blankets and quilts; among stories, songs, projections and lavender in the air.

Digital Video

2:58 minutes 

2016

Baking a recipe passed down from grandmother to artist, one hears the stories of weddings of grandparents told by parents. What details of a day, a moment, a milestone are passed down to the next generations?  

Found Handkerchieves, Thread

Ongoing

11 handkerchieves have been placed on telephone poles near recently sold or abandoned homes through out Lincolnville  

Wooden Box, Book Pages, Flora, Modge Podge,sumac dyed wool yarn, citrus, wood bowl, vintage textiles

2015

Locations of shrines: I-10, Alabama Welcome center, Kentucky Gas Station 1&2, Bedford Indiana (Iris Camp), Bloomington Indiana, New Orleans, Florida Welcome Center 

I believe in Floridiana, the Mother Almighty, Creator of milk and honey; and in Citrus, Her only daughter, our Queen; Who was conceived by the Timucua, born of the Swannee, suffered under Rick Scott, was dredged, died, and was sunk. She descended into the sea; the third day she arose again from the depths. She ascended into the canopy, and sits at the right hand of Floridiana, the Mother Almighty; from thence She shall come to judge the locals and the visitors. I believe in the Timucua, the Sunshine State, the communion of chieftons, the forgiveness of sins, the resurrection of the exploration and craft everlasting. Amen.

Our Mother, who art in the sea, hallowed be Thy name; Thy habitat come; Thy will be done on earth as it is in the sea. Give us this day our daily catch; and forgive us our development as we forgive those who develop against us; and lead us not into consumption; but deliver us from corruption. Amen.

Hail Swannee, full of grace, the Queen is within thee; blessed art thou among women, and blessed is the fruit of thy womb, Citrus. Holy Swannee, Mother of Floridiana, pray for us, now and at the surface of our depths. Amen.

Glory be to the Mother, and to the Daughter, and to the Timucua. As it was in the beginning, is now, and ever shall be, an ocean without end. Amen.

Polymere Clay, Modge Podge, Thread

2015

Lucreaty Clark was born in Lamont, Florida in 1904 and learned to make white oak baskets from her parents, who learned from their parents. Originally these sturdy baskets were used to hold cotton and carry vegetables. These images depict her reading her white oak strips in part one and in the process of weaving a basket in part two. 

Indigo dyed cotton, black walnut dyed cotton, thread, photo transfer, found wood

about 36 inches by 48 inches

2015

Edmonia

Cotton, Avocado dye, Photo Transfer, Embroidery Hoop

2015

"It was hard work though, but with color and sex against me, I have achieved success. That is what I tell my people whenever I meet them, that they must not be discouraged, but work ahead until the world is bound to respect them for what they have accomplished."

-Edmonia Lewis

Polymer Clay

2014 - ongoing 

A clay orange has been left in various places through my travels, the total will reach 1045, the number of miles between my home(previous) and my childhood home. 

Locations so far:

Indiana University Art Builiding Womens Bathroom

Mike and Jess's Home (Bloomington)

American Colours

Timbers Club Colorado (2)

Blooming Foods Westside

Petersons Grove (2)

Rainbow Bakery(3)

Flight 776 Southwest Airlines

Orlando Airport (3) 

Hunter Museum (2)

Renaissance Inn

Petes

Tiki Bar Sebastian

Starbucks Saint Augustine 

Hyppo Cafe 312

Hoptinger Jax beach

Andrew and Cassie's

Blue Hen (6)

The Floridian (2)

First Magnitude (4)

The Eartha Tapestry. This piece is named for Eartha M.M. White a Southern philanthropist, educator and business woman. Photo transfer of Floridian women makers on walnut dyed cotton, hanging from a measuring stick from Hamblen Hardware in STA. Inspired by the women crafting and making before us, around us and in the future.

Eartha Tapestry

Walnut Dyed Muslin, Photo Transfer, Thread, Found Wood, Twine

2014

about 36" x 56"

Hunting Memoirs
Kona Cotton, Wool Blend,  Photo Transfers, Thread
2013
90" x 72"