• I grew up in the Pacific Northwest among shipwrights and foundry workers—people with strong traditional skills and respect for materials. Their influence played a large part in my choice to study metalsmithing at Massachusetts College of Art (Bachelor’s of Fine Art, 1999). The rigor of metalwork honed my discipline, steady hand, attention for detail, love for surface treatment, using the right tool for the job. My work ethic remains rooted in a metalsmith’s approach to making art.

    Upon returning to the Pacific Northwest in 2001 my mixed media pieces have been widely exhibited; recent venues include the Museum of Northwest Art, Roq La Rue, PUB Gallery at Peninsula College, OGHE Ltd., and Bridge Productions and my work is held by the Seattle City Light Portable Works Collection and has appear in publications such as Seattle Magazine, Trickhouse, Beautiful/Decay blog, and City Arts Magazine. My love to collaborate across disciplines, which as led to opportunities with literary publications Filter Literary Journal, Poetry Northwest Magazine, the creation of album art, and she spent the summer of 2017 as a scenic designer for Key City Public Theatre’s post-apocalyptic production of Henry IV, Part I.  

    For the past several years I have been studying the craft of writing, notably with Joy Chu and Jolie Stekly, and am working daily to steer my art skills towards illustration. 


  • I think in terms of a ZOOM in/ZOOM out quality of life: zoom in on the immediate:  food, jokes, bills, lovers, traffic, temperature . . . zoom out: oceans, volcanoes, solar system, sugar molecules in space, a planet made entirely of diamond, vast wastes, dark matter, universe, multiverse . . . repeat. This is wrapped up in a childlike sense that so much is happening all at once; tigers and happy hour exist on the same planet, Jupiter and Twinkies share a solar system.

    I am influenced by the look of outer space, computer chips, dramatic weather, electric circuits, decay, rock-n-roll glamour, plans and diagrams, b-rate sci-fi control panels, urban environments, fluid turbulence, engineering schematics and architectural drawings, and, increasingly, the stunning good looks of the Pacific Northwest.  In my work there are things that come up again and again:  Lost highways, nebulas, grids, geometric forms, mysterious powerful ladies who appear to be performing strange rites, mountains, animals, the woods, water in all states (solid, liquid, vapor), and cities, often isolated and/or in a state of decay.