I am an interdisciplinary artist, educator, and printmaker based in Albuquerque, New Mexico. At its core, my work is about memory, care, inheritance, and the stories we carry. I am interested in the things that often go unnoticed: a worn kitchen towel, a handwritten note tucked into a drawer, a family photograph, a repaired piece of clothing, a story told and retold across generations. These ordinary objects and moments hold extraordinary histories. I see domestic artifacts not as nostalgic keepsakes, but as material evidence of lives lived, labor performed, and histories that often remain outside institutional archives.

My work combines printmaking, textiles, photography, video, sound, book arts, and installation. Process is central to my practice. I am drawn to forms of making that unfold slowly through repetition: pulling prints, stitching fabric, developing photographs in the darkroom, collecting fragments, and mending what has been worn or discarded. These actions require patience and sustained attention. They ask me to remain present, and I know I am safe in those moments.

I think of these processes as acts of witnessing. The finished artwork is not simply an image or an object. It is evidence that something happened. Time was spent. A memory was held. A story was shared. Care was offered. Every stitch, impression, repair, and layer becomes a record of that encounter. In this way, the artwork functions as an artifact of its own making, carrying the physical traces of labor, attention, vulnerability, and transformation.

This understanding shapes my interest in domestic artifacts and the histories they carry. I am drawn to the objects historically associated with women and domestic life because they reveal forms of labor that have often been dismissed as ordinary despite sustaining families, communities, and cultures. Caregiving, preserving, feeding, cleaning, mending, and remembering are rarely recognized as historical acts, yet they leave profound material evidence behind and can speak as powerfully as any official document. They hold traces of touch, repetition, resilience, grief, obligation, tenderness, and survival.

My work asks how trauma, love, identity, and belonging are carried through these objects and through the rituals that surround them. I am interested in inherited patterns that are passed from one generation to the next, sometimes through stories, but just as often through silence, gesture, habit, and expectation. Rather than illustrating memory, I seek to participate in it through the repetitive acts of making themselves.

In recent years, this has led me toward participatory projects that invite others into the work. Audio recordings, community workshops, and collaborative installations ask the artwork to hold many voices rather than a single narrative. When someone recognizes a piece of their own story within the work and chooses to share it, I know there is empathy, kindness and care continuing to thrive and grow in humanity.

This belief also informs toastlab (Together, Observe, Acknowledge, Share, Transform), the mobile makerspace and community project I founded to bring people together through artmaking and storytelling. Whether I am working alone in the studio or alongside others, I believe creative practice can become a form of witnessing. Making allows us to slow down, pay attention, and transform ordinary materials into records of lived experience.

I make work to better understand what we inherit, what we choose to carry forward, and how acts of making can become acts of remembering. Art has the capacity to make invisible labor visible, to honor the lives held within ordinary objects, and to create spaces where memory is not only preserved, but continually made anew through the shared act of witnessing.