In June 2025, I installed Sunset Canopy, a permanent artwork in the Tower Suite at Gladstone House in Toronto. This site-specific installation transforms the air above the bed into a floating constellation of leaves, branches, and circular forms—a dreamy canopy rendered in powder-coated steel wire that shifts gently with the room’s ambient airflow. Sunset Canopy is conceived as both drawing and sculpture—an installation that occupies the vertical space above the bed, creating an intimate relationship between the viewer at rest and the work suspended overhead. Composed of gestural wire forms in warm sunset tones of orange, pink, and purple, the piece arranges leaves, branches, and circular shapes into a floating garden that hovers in the air. I’m drawn to wire for its structural clarity and responsiveness—its capacity to define space through line alone. Unlike dense, solid forms, wire creates presence while maintaining transparency. It suggests volume and mass without obscuring what lies beyond it. In the Tower Suite, this quality allows the architecture of the space to remain visible while introducing a new layer of delicate, organic form. The wire elements shift subtly with the room’s ambient airflow—not dramatically, but enough to keep the installation feeling alive. This quiet sense of movement introduces a temporal quality to the work. It’s never quite static, never quite the same from one moment to the next. As guests lie in bed looking up, they experience the canopy as something that breathes with the space. I’m grateful to Gladstone House for commissioning this work and for their commitment to integrating art throughout their spaces. Their vision of creating environments where art and hospitality...
Short Statement: My installation Ode to a Prairie at Royal Botanical Gardens creates an immersive pathway through floor-to-ceiling panels. Date: January 2025 My work is currently on view at the Royal Botanical Gardens in Burlington as part of Of Wonders Wild and New, a fibre art exhibition curated by Cobalt Connects that runs through the end of the month. The exhibition brings together nine contemporary fibre artists from around the world, with works that explore the broad themes of Lewis Carroll’s Alice’s Adventures in Wonderland—playing with scale, movement, wonder, dream states, otherworldly beings, and the sense of being fully immersed in an experience. For this exhibition, I installed part of my work Ode to a Prairie, which consists of large panels featuring printed embroideries. What made this installation unique was the approach: rather than suspending the panels overhead as I typically do, the pieces were hung to extend almost to the floor, creating a pathway down the middle that allows visitors to walk through the work itself. Instead of looking up at a field hovering above, visitors find themselves surrounded—immersed within the piece. The panels create walls of flora on either side of the path, enveloping viewers in embroidered prairie plants. You don’t just observe the work from outside; you enter it, move through it, and experience it from within. This installation method speaks directly to the Wonderland themes the exhibition explores. Like Alice tumbling down the rabbit hole or stepping through the looking glass into a world where familiar things become strange and scale becomes fluid, walking between the panels creates a sense of being transported into another...
I’m honored to share that my work is currently featured in Rewilding – the David Suzuki Foundation Arts Prize, a new exhibition at the Canadian Museum of Nature in Ottawa. The show opened on October 11, 2024, and will remain on view through October 20, 2025. The exhibition brings together 13 Canadian artists—winners of the inaugural David Suzuki Foundation Rewilding Arts Prize—who have created work exploring the concept of rewilding. Rewilding is the practice of restoring natural environments, helping them return to their original, self-sustaining states. The goal is to boost biodiversity, strengthen ecosystems, and create thriving and resilient landscapes. Through artistic interpretation, we’ve reimagined what rewilding could look like in our yards, neighborhoods, and communities, offering fresh perspectives on nature and biodiversity. My installation, Poppies, explores the fleeting nature of this delicate flower by rendering and preserving the moment of the poppy in bloom in thread. Shifting the perspective of a traditional garden, viewers are invited to walk underneath the poppy field. I invite the multiple associations of the poppy and its symbolism—from sleep, to remembrance, to death. This surreal moment suspended in time looks to garden spaces while also suggesting the repeat patterning on floral fabrics or wallpapers. The selected artists come from diverse backgrounds—some are professional artists, while others are trained as scientists, environmentalists, and educators. This interdisciplinary approach reflects the exhibition’s core belief that passionate and innovative thinkers from across disciplines are needed to find creative solutions to environmental challenges. The artworks were selected by a jury of esteemed Canadian artists and curated by Dr. Helen Gregory, Curator at the McIntosh Gallery at the University...
One Sentence Summary: My wire installation at Lake of the Woods Museum creates a floating cloudscape from Spirograph-inspired patterns in vibrant blues, pinks, and purples. Date: September 2024 I’m thrilled to share that my new wire installation is currently on view at the Lake of the Woods Museum in Kenora, Ontario, running from September 28 through December 21, 2024. This exhibition represents an exciting continuation of my exploration into the intersection of mathematical patterns, textile structures, and sculptural form. The Work The centerpiece of this exhibition is a large-scale hanging installation composed of circular wire shapes inspired by mathematical roulette curves—the same geometric patterns found in those beloved Spirograph toys many of us played with as children. I’ve always been drawn to the gestural, playful quality of working with wire. There’s something magical about how it creates delicate lines in space, casts intricate shadows, and maintains an incredible sense of lightness despite being a physical material. These spirographic patterns combine my longstanding fascination with drawing toys and the radial structures found in textile practices like crochet rings and tatting. By embedding mathematical patterning into what becomes a textile-like structure, I’ve created a dense collection of sewn lines that suspend from the gallery ceiling, arranged to evoke a floating cloud of colour. The palette is deliberately vibrant—bright blues, pinks, and purples fill the space, creating a saturated atmosphere that suggests multiple readings: a distant galaxy, an abundant bouquet of flowers, or simply a surreal, colourful cloudscape hovering overhead. The work is designed to be experienced from multiple vantage points. Visitors can move around and beneath the installation, and are even...
In June 2024, I participated in agriCULTURE: Art Inspired by the Land, an innovative exhibition that paired 18 artists with Boulder County farmers to create new work inspired by farming and the natural world. My installation was sited in a historic barn at the Agricultural Heritage Center just outside of Longmont, Colorado. The exhibition spanned five locations—Longmont Museum, Boulder Museum of Contemporary Art, Ollin Farms, Milk and Honey Farm, and the Agricultural Heritage Center—inviting visitors to travel from site to site and experience how each artist responded to their specific environment. As Joan Harrold of the Longmont Museum noted, “There is so much about farming that is approached like an art form in order for it to be successful.” For this project, I created new work based on Colorado plants, with particular focus on Blue Gramma grass—a native prairie species. During my time in Colorado, I visited the herbarium at the Denver Botanic Gardens to study preserved botanical specimens and source authentic reference images for my embroidered interpretations. The installation included primarily native Colorado plants and grasses, but also incorporated crested wheatgrass—a non-native species historically planted for agriculture in the area. This combination acknowledged the complex agricultural history of the region and how human intervention has shaped the landscape. The barn’s soaring vertical space and open structure became integral to the work. I created a field of floating, embroidered plants suspended from the ceiling, inverting traditional landscape perspective and rendering the grasses monumental. Long fabric panels emphasized the barn’s verticality and responded to air moving through the structure, twisting and turning like flowers swaying in a summer breeze. Creating...
Short Summary: My latest exhibition at Thames Art Gallery explores the longing of distance through two immersive blue embroidered installations. Date: January 2024 The Blue Afar opened at Thames Art Gallery on January 26, 2024. Running through March 24, 2024, this solo exhibition featured two major installations that explored the physiological, cultural, and metaphorical meanings of the colour blue through my embroidered sculptural practice. The exhibition, curated by guest curator Matthew Ryan Smith, opened during Chatham’s Winter ARTcrawl. Creating The Blue Afar was an exploration of how embroidered environments can express the infinitesimal breadth of human emotions and shape our relationship to earth and sky. The exhibition takes its name from Rebecca Solnit’s observation in A Field Guide to Getting Lost: “The world is blue at its edges and in its depths.” She writes of being moved by “the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away.” Blue exists in the most distant places: where the horizon meets the sky, in ocean depths, at the edges of our vision. Solnit suggests that blue is not just a colour but an emotion—”the color of longing for the distances you never arrive in.” This concept became the foundation for the work: How do we materialize the beauty of distance while maintaining its essential quality of being forever beyond our grasp? Far Away Blue Fields The largest installation attempts to materialize the blue of distance itself. A constellation of powder blue orbs resembling cumulus clouds floated above a vista of azure flowers suspended from the gallery ceiling by...
In 2024, I completed Garden of Clouds, a large-scale embroidered installation for Tok Eats café in Taipei City, Taiwan. This 25′ x 20′ x 6′ suspended work hovers above visitors, transforming the interior space into an imagined cloud made of flowers. The project presented a unique challenge: the installation was mapped out and installed by a team in Taipei while I remained in Toronto, consulting daily over Zoom and phone calls to guide the process from thousands of miles away. Working with Foison Art, I created Garden of Clouds through an unusual collaborative process. While I developed the concept, created all the embroidered elements, and designed the overall composition in my Toronto studio, the actual installation happened half a world away. Each day during the installation period, I joined the team via video call, watching as they positioned pieces, discussing adjustments, and problem-solving together across time zones. This long-distance collaboration required trust, clear communication, and meticulous planning. Process drawings and installation tests became essential tools for ensuring the final work would match my vision. Looking at those initial drawings now alongside the completed installation, I’m pleased with how closely the piece corresponds to what I imagined. After the installation was complete, I flew to Taipei for the opening event—my first opportunity to see the work in person and experience it as visitors would. Standing beneath Garden of Clouds in the café, watching how it transformed the space and how people moved underneath it, was deeply rewarding after months of viewing it only through screens. During the opening, I discussed how the work was made and gave a small demonstration...
One Sentence Summary: My installation Floating Garden is paired with Jannick Deslauriers’ Phasmes to explore humanity’s journey from botanical abundance to environmental devastation. Date: September 2023 This fall, I had the privilege of exhibiting at the Peel Art Gallery, Museum and Archives (PAMA) in Brampton, Ontario as part of In Her Garden, a dual exhibition that explores humanity’s complex relationship with the natural world. Running from September 30, 2023 through February 20, 2024, the show pairs my work with that of Montreal-based artist Jannick Deslauriers, creating a powerful narrative contrast between flourishing beauty and environmental devastation. The Exhibition In Her Garden presented two radically different visions, each filtered through a feminine lens that imagined hybrid realms between reality and fantasy. My contribution, Floating Garden, filled the gallery with a romantic, vibrant garden suspended from above. Using only thread, I created stitched drawings of flowers that sprouted mid-air—each bloom soft and slight, swaying gently as visitors moved through the space. The flowers responded to the disturbance of bodies passing by, gracefully shifting in unison with their neighboring blooms, creating the illusion of a living garden complete with an imagined fresh scent permeating the space. In stark contrast, Jannick Deslauriers created Phasmes (Phasmids), a world drained of colour and life. Her mixed media installation evoked an abandoned amusement park, a nuclear disaster zone reminiscent of Chernobyl, or a war-torn landscape. Visitors entered this “contained space” through a plastic curtain, confronting the sad conclusion of environmental tragedy—whether caused by human neglect, error, or explosive aggression. Where my work celebrated botanical abundance, hers mourned its absence. Together, our installations created a narrative arc...
Short Summary: My new installation Floral Canopy transforms native New York plants into hundreds of suspended wire sculptures that create a floating wildflower meadow. In August 2023, just as students and staff prepared to enter their new building for the first time, Floral Canopy was installed in the lobby ceiling of the Albee Square Campus in Brooklyn. This site-specific public artwork represents the culmination of a four-year journey that began in 2019—a project that deepened my understanding of how art can honor place, celebrate local ecology, and create a sense of belonging for the communities that encounter it daily. Floral Canopy is composed of hundreds of hand-shaped, powder-coated steel sculptures painted in vibrant greens, yellows, and oranges that form a floating field of native plants above viewers’ heads. Like three-dimensional drawings, these intricately crafted and gestural wire forms accumulate into a suspended wildflower meadow—shifting perspective and inviting students, teachers, and visitors to look up and discover a garden where they might least expect it. The foundation of this work lies in botanical research and careful observation. I spent considerable time at the Brooklyn Botanic Garden’s Native Flora Garden and the New York Botanical Garden’s Steere Herbarium, examining plant specimens that call New York home. I made dozens of drawing studies of local species including May Apple, Button Bush, Milkweed, and many others—plants that have adapted to this specific climate and soil, plants that have their own stories within this ecosystem. This process of documentation became integral to the artwork itself. By translating scientific observation into artistic interpretation, Floral Canopy demonstrates how different ways of knowing—the scientist’s careful cataloging and the artist’s imaginative rendering—can work in harmony....
Short Statement: My new Domestika course is now available online! Date: August 2023 In November 2022, I traveled to Madrid, Spain, to film an online course with Domestika. Over the course of a week, I worked with their production team to create a comprehensive guide to starting free-motion embroidery. The course was released in August 2023, and it’s been exciting to see students from around the world discover these techniques. Filming an online course is a different kind of creative challenge than making artwork. Instead of working alone in my studio, I spent the week explaining every step of my process to cameras, breaking down techniques I’ve developed over years into clear, accessible lessons. The Domestika team in Madrid was incredible—professional, supportive, and genuinely interested in understanding the work so they could help communicate it effectively. We filmed everything from setup to finished pieces, capturing close-ups of stitching techniques and wider shots that show how individual elements come together into the larger project. It was an intense week of demonstrating, explaining, and occasionally re-filming to make sure every detail was clear. The course guides students through the entire process of creating embroidered designs using free-motion embroidery techniques on a sewing machine. I start with the fundamentals: gathering materials, creating mood boards, and developing designs inspired by natural elements. Then we move into the technical aspects—setting up the sewing machine for free-motion work, understanding essential stitch patterns, and learning to shade, accent, fill, and outline designs. The beauty of this approach is that it’s accessible to beginners while offering techniques that more experienced sewists might not have explored. I also...
