My evolving practice is rooted in place, in the layered histories and ecologies written into landscapes and cities over time. Working in textiles, fiber, mixed media, and book arts, I make three-dimensional work that asks viewers to look through, beneath, and between surfaces.
A background in urban and environmental planning shapes how I think about composition. Layering is both a physical and conceptual strategy: transparent fabrics that reveal what lies beneath, exposed warp threads that make the structure of making visible, frayed edges that refuse the fiction of a seamless surface. I rarely hide how things are made, because the process, the grid, the interruption and the torn edge are part of what interests me.
My current series, Redlining: History Hidden in Plain Sight, applies this approach to the documented history of discriminatory housing policy in St. Petersburg, Florida. Working with textiles, archival map imagery, and text, the series makes visible the spatial consequences of federal redlining in the neighborhoods of Methodist Town, Gas Plant, and Peppertown, communities that were deliberately excluded from investment and later displaced by urban renewal and interstate construction. The work exists as an artist’s book, smaller textile works, and an interactive ArcGIS StoryMap.
I came to this practice through the Tampa Bay Surface Design Guild and Studio Art Quilts Associates. A workshop with Valerie Goodwin, the architect and fiber artist, was a direct influence on how I think about map-based textile work. The generosity and encouragement of these communities is the reason I have a home studio and am taking my artistic practice seriously. Their influence runs through everything I make.
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