My career in art centers on finding, making, and advocating for beauty and meaning. For many years, advocacy and curating took precedence over making. I began in ceramics in high school, then studied photography in college and built a practice in lens-based and digital media. My professional life evolved into arts leadership and curatorial work dedicated to supporting artists and equitable institutional practices, and over time my personal artmaking receded.

After more than two decades devoted primarily to building opportunities for others, a series of personal health crises reshaped my relationship to time, the body, and creative practice. In 2023, following a BRCA2 diagnosis and multiple preventative surgeries, including a mastectomy and hysterectomy, I found myself in prolonged recovery—physically and emotionally. During that period of grief, uncertainty, and pain, I returned to clay through a one-night class. This led me to study wheel throwing, porcelain, and wild clay harvesting. Ceramics became a holistic and restorative practice, rebuilding my strength and balance while offering a meditative space to process loss and transformation.

My current work explores the intersection of bodily experience, chance, and form. I am drawn to organic silhouettes, asymmetry, and the tension between control and surrender. Throwing on the wheel provides structure and repetition; handbuilding and altering introduce vulnerability and improvisation. I actively embrace bulges, crevices, and unexpected distortions as collaborators rather than flaws.

My first series, Waiting for Myself to Be Myself Again, consists of composite vessels that merge thrown and handbuilt components into singular, biomorphic forms. These works reference the body—and reflect an ongoing negotiation between fragility and lived resilience. The title comes from a quote that Georgia O'Keeffe wrote to a friend after a period of mental health crisis and burnout:“I have done nothing all summer but wait for myself to be myself again.”