Artist Statement

I make handmade paper because the material resists certainty. Every decision, the fibers I choose, how long they are beaten, the pigments I add, the way a sheet is formed, changes what is possible. By the time I begin drawing, cutting, or painting, the paper has already become an active collaborator.

I'm drawn to patterns wherever I find them: in quilts, architecture, vintage textiles, geological formations, and the natural world. I often begin with a simple set of constraints—a repeated line, a limited color palette, or a geometric system—and then pay attention to what happens when the material begins to respond. I'm interested in the space between intention and emergence, where careful control gives way to unexpected complexity. I embrace an intuitive approach, allowing color, texture, and the subtle irregularities of handmade paper to shift and complicate the work.

Papermaking is slow, repetitive work, and I value that pace. The labor of making encourages close attention to the material and creates space for discovery. Rather than forcing a predetermined outcome, I try to create the conditions for it to emerge.

Whether I'm working alone in the studio or leading collaborative projects like Deep Map, my practice is grounded in the belief that careful observation reveals complexity that might otherwise go unnoticed. Both practices are exercises in sustained attention, one to material, the other to place. At a time when our attention is increasingly fragmented, I'm interested in creating work that rewards sustained looking.