educator
artist
I am an instructional leader and a community arts organizer with fifteen years of experience in visual arts curriculum design, implementation, training, mentoring, and advocacy.
Recent Works
My Fingernails Are Fresnel Lenses
In the summer of 2025 I completed a project in partnership with Chris Fritton at the Artist Residency at Directangle Press in Bethelem, NH. The books are a reboot of Fritton’s poem “My Fingernails Are Fresnel Lenses” and features 10 two-color illustrations. The final products are letterpress- and linocut-printed, and the body of the book is risograph-printed.
It explores the relationship between science, memory, and light, attempting to tease out an elegantly simple analogy that at first sounds preposterous, but proves to be absolute physical fact: the human body emanates detectable light.
It's the romance of science and the science of romance; it's about what it means to remember and forget, and what that looks like.
Because We’re Here
The Secret Place
There has been a fundamental shift, an evolution, in almost every aspect of my identity since 2018. The personal and the professional. My relationship to family and home. I have made all of these paintings and they somehow have helped make me feel more at peace with a present that looks vastly different from the future that I had envisioned.
I started this work during the winter of 2024 at my grandfather’s desk, pulling from different sources that resonated with me. I wanted to see the words and images together. I wanted a bulletin board above my desk but also couldn't justify the expense. One of my lifelong best friends told me to paint this house shape on the wall. It became a place that held words, ideas, and works-in-progress. Its contents are constantly shifting and changing, but the recurring theme: open hands.
Up until this point, I have been an outward-looking maker. I have enjoyed making images to celebrate and memorialize other people, significant words, and moments. Often when I have made artwork it has been for a functional purpose — show posters, album artwork, a t-shirt design. It feels significant that this is the first time that I have made a body of work that was really about understanding my own interiority in the present. The energy to make these images felt reflexive, and I am continuing to learn from the experience. Preparing for this show has made me reflect on experiences, ideas, and work that goes back decades.
Papercuts
For more than a decade the artwork that I made was primarily cut paper illustrations. My early papercuts were focused on pattern and abstraction. I was just getting to know the medium and was drawn to the meditative quality of the process.
Over the past six years I have made portraits of my friends, family members, and have done commission work of pets and people from all over. In 2016 I started a series that I called Guided By (Female) Voices, which I exhibited at Aviary Gallery in Jamaica Plain in February of 2018. In that time I made 53 portraits of women that I admire. I started with some of my art heroes: Yoko Ono, The Guerilla Girls, Margaret Kilgallen, Eva Hesse.
Having made the interesting decision to spend my entire adult life as a teacher entrenched in adolescence I think a lot about the folks who supported me into becoming an adult. As the series progressed I started to make portraits of my friends who are also artists, mentors, and folks that I admire and also know in real life.
I loved the binary nature of cutting a silhouette. You are either in or out. I would start with a full sheet of paper and just needed to extract pieces until only the final image remained. I liked seeing how far I could push to the line between falling apart and holding together.
