Uniting unrelated areas of artistry is the main catalyst behind my work. I focus on utilizing crochet techniques as methods for working with materials and processes associated with jewelry, sculpture, and painting. Limiting my artistic practice in such a manner could be viewed as confining but continuing to engage with this self-imposed boundary has proven to be a fulfilling experience and an inspirational guide in regard to my artistic output.

In the Memory series, paint is sprayed through and over antique, vintage, and artist made crocheted doilies. After the paint is applied, found fibers are then stitched and crocheted onto the paper substrate, breaching and altering its surface and edges. The doilies, originally recognizable objects, become distorted and inverted in the paint layers. Manipulated into new forms or altered by physical fiber stitches, the compositions re-create the doilies in a different medium. These distortions mirror how we relate to the past: we forget, remember incorrectly, recall certain pieces clearer than others, and evolve the event as we remember and retell it. The inversion, distortion, and alteration of the doilies with paint and fiber illustrate how memories will never be the actual event or even very reliable, but confined to being only an echo of it, or as an imprint that has been filtered and edited. ​