My art practice moves between the digital and the handmade.

 

As I developed as an artist, I focused on classic drawing and painting, then quickly jumped into the world of computer graphics when I learned Photoshop 2.0. In the 2010s, I shifted to three-dimensional construction in miniature, building a series of dollhouses. At the same time, I got into collecting Japanese fashion dolls, which inspired me to learn to sew.

 

This hybrid background and ever-evolving skill set allows me to explore a broad range of executional approaches, techniques, materials, and media in my work.

 

My experience in three-dimensional construction is key to my textile work. The subject matter I choose—portraits, font forms, and motor vehicles—is driven by personal history and aesthetic interest. 

 

I’m from Detroit, and I’m fascinated by capturing the metal, color, and form of motor vehicles. With the portraits I paint in gouache, I’m driven by the challenge of achieving likeness. I am also inspired by the forms of letters, using typography to lend meaning and structure to the composition.

 

The core of my process is connecting these hand-drawn concepts to the physical world. I create my initial art through sketching and drawing, then use the computer to scan the original art and print them directly onto fabric. Projects like the 100 Day Stitch Book showcase this final transformation, where the printed image and the therapeutic act of hand-stitching create layered art.

 

For me, creation is a commitment to joy, imagination, and play. My work connects modern technology with timeless craft, proving that the spectacular can emerge from that simple combination.