My work explores color, material, pattern, and the possibilities that emerge through process. I am interested in the moment when intention gives way to discovery—when materials begin to suggest their own direction and unexpected relationships take form.

My connection to material began in childhood. My mother made my clothes, and I spent hours with her in fabric stores choosing colors, patterns, and textures. Watching those materials become something entirely new shaped the way I think about making and established an enduring connection between material, transformation, and care.

Years later, encountering Japanese textiles at the Seattle Art Museum introduced me to Shibori. Traditionally created through binding, folding, stitching, and dyeing cloth, these textiles opened a new way of thinking about pattern and surface. Rather than replicate the traditional process, I began exploring its visual language through paint.

In my Shibori series, fluid acrylic is applied to Dura-Lar, a translucent polyester film that allows pigment to move, pool, separate, and collide. I begin with ideas about color and pattern, introducing gestures and repeated marks into the fluid surface. But the materials have their own tendencies. Patterns may dissolve, colors shift, and unexpected relationships emerge. Sometimes these moments are more beautiful than anything I could have planned. Other times, they require me to reconsider the painting entirely.

I often return to a painting, adding new layers that may reveal or obscure what came before. This ongoing exchange between intention, chance, and revision is central to my practice. Although unpredictability is essential to the process, the finished work is ultimately shaped by my decisions about what to preserve, what to transform, and when to stop.

Collage provides a counterpoint to this fluidity. I cut my painted Dura-Lar into shapes and fragments and reassemble them into new compositions. What begins spontaneously becomes deliberate as colors, edges, and seemingly unrelated pieces find unexpected connections.

My works on paper extend this exploration on a more intimate scale. Painted fragments of Dura-Lar are assembled on paper, allowing color, gesture, and negative space to become especially immediate. Their smaller scale encourages experimentation, spontaneity, and a sense of play.

Across these bodies of work, I am interested in creating paintings and collages that command attention from a distance but continue to reveal themselves as the viewer moves closer. Bold color and composition establish the initial encounter, while subtle shifts, layered surfaces, and unexpected details invite a slower kind of looking.

Ultimately, my work is about possibility: the possibility inherent in materials, unexpected combinations, and remaining curious. I want the work to offer a moment of visual pleasure and discovery, and perhaps a reminder that there is always another way of seeing.