I came to papermaking with a background in broadcast and graphic design—a transition that felt natural, blending my interests in the environment, native plants, and material-driven art. I've always been drawn to paper, and one papermaking class twenty-five years ago was enough to hook me for life.

Making a single, beautiful sheet of paper is reward enough, but taking it a step further feels even more meaningful. My studio practice now spans both 2D and 3D forms, incorporates natural dyeing techniques, and includes research into common grasses and their potential as fiber.

My tapestries draw on two age-old traditions—handmade paper and weaving. I explore how small gestures accumulate into pattern and how simple materials can carry complex stories. The rhythm and repetition of weaving offer a gentle counterbalance to my paste-paper surfaces, which are layered with color, texture, and visual movement. In contrast to these detailed weavings, my pulp paintings are abstract and fluid, often evoking the open landscapes of my native South Texas.

I’ve enjoyed adding a three-dimensional element to my work. Working with light as a physical component, my illuminated paper sculptures incorporate the organic beauty of wood. More than a light source, these works function as meditative, inviting objects of art.