Raised in Virginia’s Blue Ridge Mountains amidst a family of makers, my identity and creative practice are deeply rooted in the region’s native plants and landscape. I often draw on this environment for inspiration, employing recurring botanical motifs and shifting between micro and macro perspectives. Central to my practice is pieceworking—a conceptual framework grounded in the methodology of quilting, in which I deconstruct and reassemble materials, memories, and histories into new, pieced forms. This early grounding in handwork laid the foundation for a formal practice that now spans sculpture, artist’s books, papermaking, conservation, letterpress printing, printmaking, and teaching.

I engage with the material qualities of paper—its capacity to retain traces of its maker and to carry meaning, both physically and visually. In contrast, my conservation work focuses on preserving memory, honoring fragmentation, and sustaining the ephemeral—principles that mirror the ethos of pieceworking.

This framework also shapes my collaborative and curatorial research. Across these modes, pieceworking continues to guide how I shape and share narrative—fragmented, remembered, and reimagined—seeking authentic, embodied connections with viewers.

Although I have been engaged in artistic practice for most of my life, I founded Wild Ginseng Studio in 2010. The studio’s name is inspired by my grandfather’s tradition of hunting wild ginseng, which he referred to as "sang." It is another example of borrowing a morsel of memory and assigning it a new narrative.