Recent Exhibitions 

Art x Text, curated by Elliot Rockart. Gallery 198, Brooklyn NY, 2026

GenderMend, curated by Milo Godfrey. Textile Arts Center, Brooklyn NYC, 2026.

Celebrating American Craft, curated by David Heustess. Sarratt Gallery, Vanderbilt University, 2025.

Rooted in Pride, curated by Arts Gowanus. Washington Park, 2025.

Teaching and Presentations

Bargello Embroidery Workshop - September, 2026

Yarn Spinning Workshop - May, 2026

MAFA’s Distaff Day Celebration Talk - January, 2026

Log Cabin Quilt Workshop - December, 2025

Valentine Puzzle Purse Workshop - February, 2025

Embroidery As Subversion Workshop - February, 2025

Amish Puzzle Ball Hand-Sewing Workshop - December, 2024

Artist Residency, 2024

During my artist residency in Antigua, Guatemala, I researched hip-strap weaving and learned to create double sided brocade patterns on a hip-strap loom in the Mayan style. In preparation, I read books on Guatemalan weaving published from the 1940s through the late 2010s to get a feel for how weaving traditions have changed over the past 80 years. Once there, I learned from an indigenous weaver in Antigua whose patient hands guided mine. I  traveled to the 500 year old market in Chichicastenango where weavers sell textiles, looms, threads, and warping boards. I bought an antique Huipil from among  heaps of vintage and antique textiles that have fallen out of fashion and are now sold en masse, and a vintage double sided brocade faja (belt) from an indigenous woman who brings these handmade textiles from her village to sell to tourists in Antigua. With the garments carefully laid out beside the books in my studio, I tied my loom to a hook in the ceiling and began the painstaking process of replicating the designs from the books, my teacher, and markets with a wooden pick-up needle and scraps of natural dyed cotton threads.

Going into the residency,  I wanted to learn about Guatemalan weaving in four ways: from written sources, from people whose families had passed the tradition down for generations, from studying physical textiles in museums and markets, and by putting my own hands to the technique. Reading about a technique and visiting museums gave me access to the research and comparative analysis of academic experts. Learning from practitioners of the technique and practicing myself gave me an organic understanding of its significance. Specifically, ‘Techniques of Guatemalan Backstrap’ by Lena Bjerregaard helped me to identify the traditional patterns and colors I saw in the markets. Doña Evarilda, my teacher at Kakaw Designs, explained that a huipil takes about six months to make and when she wears her huipil she feels covered in the memories of the time spent weaving and the people and places that surrounded her each time she set up the loom. Now, as I work on my own hanging and look at the samples I brought home each motif reminds me of the books, people, and places.