In my current practice, I explore how our local environments, geographies, and lived histories influence women’s identities, voices, and stories. My 2019 solo show, Across References at the University of Maine at Farmington Art Gallery, exhibited work dealing with the intersection of geological time, Maine’s rivers, and women's lives. It included interactive, erasable drawings of glacial retreat, the Sandy and Kennebec Rivers, and referenced Wabanaki history and Maine’s Commission on Truth and Reconciliation. Portraits of women from the Farmington area as well as Colby graduates, faculty, activists, and staff were hung on the first and second floors of the gallery.  The second floor of the gallery also held a large sheet of drawing paper inviting users to map their lives and stories, using maps, markers, chalks, and other collage materials. The third floor loft space contained paintings of the White Mountains surrounding a journaling station, for private musings on daily states of being.

It’s always about drawing and relationships! The accessibility and gestural qualities of drawing mirror the fluidity of women’s identities and help us see our local environments. I love researching, building up an archival surface, the silence of wiping marks away, or questioning traditional structures by drawing on top of painted surfaces. Collecting stories of women’s lives and interrogating where and how we exhibit and interact with creative work is a key component of the practice.

Key influences include the New York Studio School, a Skowhegan residency, Sam Gilliam at the Vermont Studio Center, Columbia University Center for Oral History workshops, Jill Gordon's Feminist Philosophy and Amber Hickey’s recent Contemporary Art and Politics courses at Colby.