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Textile-based inquiry

2020–2024

Sparrows and Swallows

2020

Embroidered swallow in blue and grey thread and beads, diving over a smaller embroidered bird on organza, with stitched script beneath.
Sparrows & Swallows, embroidery, thread, beads, and organza. 18”x 26”, 2020
Exhibitions
  • Devotion: Sewing the Sacred, Surface Design Journal, Fall 2020, co-curators Jovencio de la Paz and Lauren Sinner

Hydrangea Flower Pattern Necklace

2022

A beaded ring necklace on organza, silver beads with patches of colour, resting on lichen-covered bark.
Hydrangea Flower Pattern Necklace. Beads, appliqué and wire on organza. 10”x10”, 2022. The pattern was derived from a drawing made with a hydrangea flower and inspired by Schiaparelli’s Necklace (1938)
Exhibitions
  • Incremental Growth: RISD Graduate Textiles Biennial 2022, Sol Koffler Gallery, 169 Weybosset Street, Providence, RI, Mar. 4 – Apr. 3, 2022

Petticoat Jacket/The Wolf and the Lamb

2022/2023

A jacket of translucent grey-striped silk organza, bleached and stained, with a button and tie.
Petticoat Jacket/The Wolf and the Lamb, deaccessioned horsehair petticoat, digitally printed silk organza treated with bleach and ferric with original button, tie, and tag, 2022/2023
The original deaccessioned horsehair petticoat in grey stripes, crumpled. A printed page of Aesop's fable The Wolf and the Lamb with an engraving of a wolf.
A digital image made from scans of the petticoat's gathered stripes.
Process work for Petticoat Jacket. Top is an image of the original deaccessioned petticoat and a copy of the Aesop’s Fable The Wolf and the Lamb. Below: digital image based on scans of the petticoat digitally printed on silk organza, 2022
Exhibitions
  • RISD Textile Triennial, Woods-Gerry Gallery, RISD, Providence, RI, Nov. 22 – Dec. 8, 2024
  • New Contemporaries 2023, Gelman Gallery, RISD Museum, Providence, RI, July 1 – Oct. 15, 2023
  • RISD Grad Show 2023, Providence Convention Center, Providence, RI, May 25 – June 3, 2023
  • Inherent Vice: Hidden Narratives, Donghia Gallery, RISD Museum, Providence, RI, July 23, 2022 – Jan. 15, 2023, an earlier version of the jacket and felt work
A museum case: a dark jacket on a stand before a large felt form, with a lamp and a projected image behind glass.
Installation view, Inherent Vice: Hidden Narratives, Donghia Gallery, RISD Museum, 2022–23: an earlier version of the jacket with felt work

Supported by the Alberta Foundation for the Arts

Sensing Fashion

2023

Four embroidered samples mounted in a row in a museum wall case. The Sensing Fashion gallery, with garments on forms and projected video on the walls.
Two digitally embroidered samples in detail: one yellow and grey, one pale peach in diagonal bands.
Samples, a project for Sensing Fashion, an exhibition co-curated with Kate Irvin at the RISD Museum, 2023

This museum-based research project marked a significant shift in my practice. As Graduate Fellow in Costume and Textiles at the RISD Museum (2022–23), I collaborated with curator Kate Irvin on Sensing Fashion, an exhibition shaped around a major donation of contemporary high-fashion garments. For the exhibit, I developed embroidered samples based on microscopic videos of the garments' surfaces, stitched using an industrial Tajima embroidery machine. The project was part of a larger investigation into whether digital embroidery could convey the sense of wonder often experienced with hand-embroidered work.

Exhibitions
  • Sensing Fashion, Donghia Gallery, RISD Museum, Providence, RI, Feb. 11 – July 30, 2023
Sensing Fashion, installation view with projected microscopic video, RISD Museum, 2023

Black Blossom Lace

2023

A loose ring of black machine-stitched lace in dense clusters, like blossoms joined by fine threads, on a white ground.
Black Blossom Lace, machine-stitched lace, 6” x 6”, 2023
Ring-a-Ring-o’-Roses, traditional

“Ring-a-ring o’-Roses, A pocketful of Posies; A-tisha! a-tisha! All fall down.”

Exhibitions
  • RISD Textile Triennial, Woods-Gerry Gallery, RISD, Providence, RI, Nov. 22 – Dec. 8, 2024
  • CAAF Residency Exhibition, cSPACE, Calgary, AB, July 1 – Aug. 31, 2023

Chrysalis Waistcoat

2022

A waistcoat of pale hand-made felt on a dress form, its surface densely machine-stitched with raised, lichen-like texture.
Chrysalis Waistcoat. Machine-stitching on hand-made felt. Thread, mutton lamb wool, 2022
Nineteenth-century photograph of a broad oak tree. Process work: the oak pattern transferred in dark pounce on pink ground. Process work: the oak pattern as a dotted outline drawing.
A found object from a sidewalk, bright yellow-green moss with dry leaves.
Top: Process work and sources for Chrysalis Waistcoat. The pattern for the waistcoat was derived from a photograph of an oak tree from the Journal of the Northamptonshire Natural History Society & Field Club, Northampton: Stanton & Son. 1880-81. Vol.I, p.1. It was made with a process used in couture embroidery to transfer images onto cloth, called “prick & pounce.” Bottom: Found object on RISD sidewalk as colour source
Two views of large felt being made on studio tables.
Large scale felt making studies, 2022
Exhibitions
  • RISD Textile Triennial, Woods-Gerry Gallery, RISD, Providence, RI, Nov. 22 – Dec. 8, 2024
  • RISD Grad Show 2023, Providence Convention Center, Providence, RI, May 25 – June 3, 2023
  • A Moment That Lasts Beyond Now, Sol Koffler Gallery, Providence, RI, Sept. 7 – Oct. 2, 2022

Supported by the Alberta Foundation for the Arts

Daphne and Apollo

2023

A jacket of pale pink tulle and organza, its sleeves and back machine-embroidered with blossoms and leaves in green, pink and coral. A western shirt of pale green plaid organza with pink embroidered yokes and cuffs, snaps, and a collar of reclaimed brown fur.
Blossom Tulle Suit Jacket, machine embroidery, tulle, organza, threadWestern Shirt w. Apollo Plaid and Bee Pattern, digital embroidery, digital printing, reclaimed wool collar (from Fur Suite/Remnants), silk organza, polyester organza, thread, snaps, 2023
Exhibitions
  • RISD Textile Triennial, Woods-Gerry Gallery, RISD, Providence, RI, Nov. 22 – Dec. 8, 2024
  • New Contemporaries 2023, Gelman Gallery, RISD Museum, Providence, RI, July 1 – Oct. 15, 2023
  • RISD Grad Show 2023, Providence Convention Center, Providence, RI, May 25 – June 3, 2023
Three garments laid flat on a slanted white plinth in a gallery: a grey striped jacket, the green western shirt, and the pink tulle jacket.
Installation view, New Contemporaries 2023, Gelman Gallery, RISD Museum, with Petticoat Jacket

Supported by the Alberta Foundation for the Arts

for D: becoming a tree

2023/2024

A quilted jumpsuit in mottled green and cream silk organza, embroidered with rhinestones and beads.
A machine-stitched dot drawing on white fabric, a dense field of small dark stitches. Two machine-stitched dot drawings pinned side by side on a white wall.
An embroidered email on white fabric: lines of dark machine-stitched text overlaid with pink stitched blossoms and green appliqué. Close view of the embroidered email: lines of black stitched text crossed by pink cross-stitch blossoms, felt appliqué flowers, and green stitched bars in the margin.
Two pieces of pale peach tulle, cut as sleeve and bodice pattern pieces, embroidered with small pink, green, black and blue blossoms. A bundle of bare branches bound with pink duct tape against a white wall. Green coveralls hanging on a wall, with a small embroidered patch on the chest.
From the top: video clip from performance of for D: becoming a tree, jumpsuit, trampoline, and a gilded mirror, Kingston, ON, Aug. 11, 2024From the installation for D: becoming a tree, the jumpsuit, a quilted jumpsuit with digitally printed silk organza, mutton lamb wool, cotton batting, and embroidered with rhinestones & beads, 2022The Reproductions: Disappearance, machine-stitched reproduction of a 19thC lithograph of ballerina Fanny Elssler jumping in the air, 2022The Reproductions: Disappearance and Daphne & Apollo, machine-stitched reproductions of the lithograph and of an etching of Apollo and Daphne from the workshop of Hendrick Goltzius (1589), 2022NECESSITY AND FUTILITY, Dear D----, from for D: becoming a tree, machine & hand stitched embroidered email with appliqué, 2022From for D: becoming a tree: embroidered tulle sleeves, budding branches with pink duct tape, and coveralls with an embroidered patch, 2022
Exhibitions
  • for D: becoming a tree (solo), Gallery 505, Calgary, AB, Nov. 1, 2023 – Apr. 5, 2024
  • RISD Grad Show 2023, Providence Convention Center, Providence, RI, May 25 – June 3, 2023

Supported by the Alberta Foundation for the Arts

tree song

2023

Machine-stitched lace hanging against a pale wall: a tall, narrow tree form made of stitched lines of text.
Machine-stitched lace, 14” x 28”From for D: becoming a tree

tree song is part of for D: becoming a tree, a larger body of work I developed from the myth of Apollo and Daphne. In Ovid's telling, Daphne becomes a laurel tree to escape Apollo's pursuit. In 2022 I searched the full-text collection of the HathiTrust Digital Library for the phrase “becoming a tree” and selected twelve passages from the results. I digitally stitched these fragments into a single textile, and the work became part of my material exploration of lace-like structures made through machine stitching.

Eleven of the twelve passages come from works written by men or published without attribution under male editors. The one woman in the search did not publish under her own name. The preface to Esthwaite Water is signed “The Authoress.” In it, she explains that she appears before the public anonymously and that the book's profits will support charitable and educational work. Her passage extends the parable of the mustard seed to her own small book, which she hopes will grow into a tree. She is the only writer among the twelve who applies the phrase to herself.

Twelve printed passages clipped from digitized books, each containing the phrase becoming a tree, highlighted in yellow and green.
From a search of the HathiTrust website for the phrase “becoming a tree,” 2022The typefaces of the sources were carried into the stitch file

The sources, in the order they appear in the work, are:

  1. Thomas Nuttall, The North American Sylva, vol. 1 (1852): the box-leaved Eugenia at Key West.
  2. W. H. Muldrew, Sylvan Ontario (Toronto, 1901): the Canadian juneberry.
  3. Leslie A. Viereck and Elbert L. Little Jr., Guide to Alaska Trees (US Department of Agriculture, 1974): the Scouler willow.
  4. Marshall Kittredge Abbott, Myopia Songs & Waltzes (1897): the Myopia Hunt Club in Massachusetts, described as a sapling.
  5. Harvey Monroe Hall, “Studies in Ornamental Trees and Shrubs,” University of California Publications in Botany (1910): the Eugenia hedge.
  6. Hall (1910): the bottlebrush Callistemon speciosus.
  7. Hall (1910): the bottlebrush Callistemon speciosus.
  8. The Penny Cyclopaedia (1837), article “Cupressus”: the spreading cypress.
  9. The Penny Cyclopaedia (1835), article “Bambusa”: tabasheer, a substance secreted by bamboo.
  10. Charles Knight, ed., The English Cyclopaedia: Natural History (1854), article “Acer”: the curled maple.
  11. Rabindranath Tagore, Sādhanā: The Realisation of Life (1913): the seed and its dharma.
  12. Esthwaite Water: A Poem in Three Parts (1854), “By a Lady”: the author's hope for her book.
Exhibitions
  • for D: becoming a tree, Gallery 505, Calgary, AB, Nov. 1, 2023 – Apr. 5, 2024
  • RISD Grad Show 2023, Providence Convention Center, Providence, RI, May 25 – June 3, 2023

Supported by the Alberta Foundation for the Arts