One Sentence Summary: My embroidered installation at Hermès Madison Avenue features Pegasus in Bloom, where the mythical winged horse emerges from a stitched Hermès scarf into a field of flowers. Date: August 2025 I’m excited to share that in June 2025, I installed two new embroidered works at the Hermès Madison Avenue location in New York City. The window installation, Pegasus in Bloom, will be on display through the end of September 2025, alongside an interior piece, Floating Garden, installed in the store’s historic staircase area. Pegasus in Bloom: The Window Installation Pegasus in Bloom is a window installation that tells a story of emergence and lightness—the transition from night to day, winter to spring. At its center, I have enlarged and rendered the Libre Comme PĂ©gase scarf with its bold blues and painterly design entirely in stitch, suspending it mid-air in the Hermès window space. The scarf unfurls like a portal from which the mythical Pegasus emerges, appearing to leap forward in flight. The winged creature arcs through the space in a quiet transition from twilight into daylight, suggesting motion and freedom. Pegasus emerges into a field of embroidered flowers that shift from deep midnight tones to soft spring pastels. The florals—rendered in rich reds, purples, and blues—create a vibrant ground that evokes early spring. Leather bags echo the flowers’ hues in colors that hint at spring’s arrival. Floating Garden: The Interior Installation Within the historic staircase area, Floating Garden creates an idealized space—an imaginary and dreamlike environment. This installation addresses the history of botanical themes in stock embroidery, taking flowers out of the context of embroidery ‘kits’ and moving these images into an installation to create...
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...
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...
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...
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...
