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...
