Surrounded by hazardous conditions and materials, we find solace, joy and connection through the smallest actions of stitching, braiding, knotting, weaving and beading, opening up time to breathe, opening up space to share. 

Each crafted work intertwines three main threads: gathering of largely found materials; rote-handmaking; and social engagement. In doing so, what may appear to be a fuzzy retreat from hazardous personal, local, and global conditions is in fact humane activity to seek alternatives.

This material-exploration process weaves in domestic craft traditions, conceptual craft and the feminist art movement of the 1960s and ’70s through various materials and methods, modes of display and communities of collaborators.

Each work is propelled by two major questions:
• How can material explorations contribute to the shared desires of personal wellness, social connection and political engagement?
and:
• How can each crafted object hold multiple levels of meanings in both the privileged art context and the everyday, real world?

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Large-scale projects stand as both artifacts of social connectivity and as aesthetic crafted objects in themselves. Exhibiting these objects is an essential part of this art practice that challenges the hierarchy of material, methods and makers. They aim to draw in those who do not normally access the privileged spaces of art and academic institutions and galleries.