I began by making quilts, or what I nicknamed "bed sculptures", using color and the slow stitch of the hand to examine ideas of home, a kind of True North, how we orient ourselves or feel lost. As the work moved to the wall and became more in conversation with painting, I continued to use the dotted line of hand-stitching as a marker of uncertainty, exploring our relationship with time, the finite, and the knowable.

I have used the stitch to record the trajectory of stars over battlefields as well as astronomical events that reflect back our human limitations and preconceptions. I have tracked energy dispersion patterns in physics and the storage of energy in a cell. In my most recent series Portraits my stitch patterns consider the boundary between our bodies and the physical world as they are superimposed over aura portraits of famous paintings in dye on fabric.

I follow these odd kernels of knowledge to translate often empirical data into a more subjective version. It is through this process I contemplate what we know with a sense of curiosity, an awareness of my mortality, and perspective for where I fit in a broader world.