I live, work and grew up on the boats of Sausalito, California. In between childhood and now, I spent a decade or two attempting to make sense of the world while combining things like working for the United Nations and solo bike-tripping for hundreds of miles at a time.

My first job out of college was managing a textile arts studio, where I apprenticed in natural dyes, spinning, and felting with Streetcolor. She approached these media from a conceptual and fine art perspective.

I didn’t know what that meant. Or how unusual that was.

What I experienced in that studio launched me into an otherworldly portal where I felt weightless, energized, and with endless ideas that I desperately needed to express. I knew I loved weaving and making sculptures out of soft materials from when I was about five years old. But I also felt a powerful calling to work at the intersection of ecology, agriculture, health and environmental justice. I tried to calculate how I could leverage the privileges I had to achieve the most positive impact I could.

I got a few degrees in geography and served as an advisor and trainer at the United Nations, US Congress, and US Department of State. At the time, it felt like the biggest contribution I could make to the world. I loved learning new languages and feeling my mind bend as new perspectives from visiting 40+ countries obliterated any sense of ‘what is normal.’ I felt a desperate need to make policy linkages between seemingly disparate topics that connect our lives:  water, soil, forests, and human health.

In 2018 I shifted. Long story short, art became my primary focus.

I work in the historic Marinship boatyards of Sausalito. This site transformed from mudflat to warship manufacturing center within a few weeks in 1942. Since then it’s evolved from beatnik hangout to a new generation of boatbuilders, craftspeople and artists.

True to my geographer’s training, my art and life take the idea of “place” seriously. I work with materials that I salvage from industrial yards in my neighborhood, climate-beneficial wool that reverses climate change and is super-cozy to touch, and regional plants and pigments. It is important for me that art go beyond the visual: touch powers us, and makes art even more accessible.

About my color palette: I started out as a dyer, expressing everything I could through color. Life is overwhelming right now. Limiting my color options frees me up to create without fear. For now I work primarily in black and white, along with organic plant-based indigo and naturally occurring rust.

For the longer story, get in touch.