Selected Written Work  

Fabricon: Invisible Reweaving and a Controversial Correspondence Course

Knitting for Relief. February 7th, 2026

Saint Distaff’s Day January 7th, 2025

Irish Needle Lace: An Interview with Fiona Harrington May 24th, 2024

Contemporary Silk Ikat Weaving In Gujarat, India: An Interview with Dr. Urmila Mohan May 18th, 2024

Tatreez and the Palestinian Thobe November 4, 2023

Recent Teaching and Presentation 

MAFA’s Distaff Day Celebration, January, 2026

Log Cabin Quilt, December, 2025

Valentine Puzzle Purse, February 2025

Amish Puzzle Ball Hand-Sewing Class, 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. 

Recent Exhibitions 

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

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