This portfolio shows selected works since the start of my career in 2003.

    Running deep through my work is a curiosity for objects. I have an interest in the history and value they hold. My artwork is often a dialogue with the objects I find. I try to preserve a certain amount of the object in the work, so that it’s not just acting as an armature, but is an integral part of these piece.

    In the Colonies series, I worked with objects found on the family farm. These objects are generations old; they are clues; they are fragments of stories that through time became my story. I view the finished products as collaborations between the objects as artifacts and their new identities as artworks. There is a melding of utility and beauty, of past and present, of it and me.

    In all of my works, I think there is admiration for handicraft and the process of making. I wanted to create my own form of handicraft, but at the same time be connected to other forms. I first started working with pins in a small, experimental series I did in graduate school. I remember enjoying the immediacy of the results, the delicacy of the object and the repetition in the process. It interested me that these tiny tools for textiles, could be a medium for my work.

    My show, Odds and Ends, is where the pins became a dominant medium. I look at this body of work as a catalyst or link between my old work and new work. This is because the works from this show were about objects and handicraft as well as play, a dominant theme in my early works. My installations and larger works mostly relate to toys and playgrounds. Likewise, my earliest ceramics works were playful reinterpretations of traditional vessel forms.

    For the last three years my life has been divided between my artwork, my teaching career and my passion for travel. Over the last two years I’ve traveled to Egypt, Morocco, Tunisia, Algeria, Spain, Italy, France, England and Scotland. In June 2015 I married Wahab Akkouche, an Algerian graphic designer. We both relocated to Cairo, Egypt where we could begin our life together. All of this adventure is settling in. The dust of the Sahara, dilapidated cityscapes, the elegance of North African Islamic patterns, the metal works of the Berbers- all of these are becoming a part of my aesthetic vernacular. I believe my most recent works, named after cities in North Africa, are simply a starting point for what is next.