acrylic on vellum

14" x 11.5"     36cm x 29cm

From the series All the ways you tried. A group of drawings that were made using the same embroidery design over and over again as a stand in for an individual, a culture, a country... all the ways we are tried and still stay visible.

acrylic on vellum

14" x 11.5"     36cm x 29cm

From the series All the ways you tried. A group of drawings that were made using the same embroidery design over and over again as a stand in for an individual, a culture, a country... all the ways we are tried and still stay visible.

acrylic on vellum

14" x 11.5"     36cm x 29cm

From the series All the ways you tried. A group of drawings that were made using the same embroidery design over and over again as a stand in for an individual, a culture, a country... all the ways we are tried and still stay visible.

acrylic on Yupo

14" x 11.5"     36cm x 29cm

From the series All the ways you tried. A group of drawings that were made using the same embroidery design over and over again as a stand in for an individual, a culture, a country... all the ways we are tried and still stay visible.

acrylic on Yupo

14" x 11.5"     36cm x 29cm

From the series All the ways you tried. A group of drawings that were made using the same embroidery design over and over again as a stand in for an individual, a culture, a country... all the ways we are tried and still stay visible.

acrylic on vellum

14" x 11.5"     36cm x 29cm

From the series All the ways you tried. A group of drawings that were made using the same embroidery design over and over again as a stand in for an individual, a culture, a country... all the ways we are tried and still stay visible.

acrylic on vellum

14" x 11.5"     36cm x 29cm

From the series All the ways you tried. A group of drawings that were made using the same embroidery design over and over again as a stand in for an individual, a culture, a country... all the ways we are tried and still stay visible.

acrylic on Yupo

14" x 11.5"     36cm x 29cm

From the series All the ways you tried. A group of drawings that were made using the same embroidery design over and over again as a stand in for an individual, a culture, a country... all the ways we are tried and still stay visible.

acrylic on vellum

14" x 11.5"     36cm x 29cm

From the series All the ways you tried. A group of drawings that were made using the same embroidery design over and over again as a stand in for an individual, a culture, a country... all the ways we are tried and still stay visible.

newspapers*, felt, fencing, metal posts, and wood               
61” x 73” x 75”        155cm x 185cm x 191cm

For this piece I cut newspapers into strips of 3 different heights and rolled each to fit into the fencing. Starting with one torso made entirely of newspaper, I then gradually added gray felt to the rest of the torsos.

I chose felt as it is made from matting and condensing separate fibers into one – similar to how news is, at times, shared. Like in the children's game of telephone when a secret is whispered from person to person, I hope that the process we use to share news today does not lead us too far from the truth.      

*Newspapers were generously donated by the Enoch Pratt Free Library. 

newspapers*, felt, fencing, metal posts, and wood               
Detail image

For this piece I cut newspapers into strips of 3 different heights and rolled each to fit into the fencing. Starting with one torso made entirely of newspaper, I then gradually added gray felt to the rest of the torsos.

I chose felt as it is made from matting and condensing separate fibers into one – similar to how news is, at times, shared. Like in the children's game of telephone when a secret is whispered from person to person, I hope that the process we use to share news today does not lead us too far from the truth.      

*Newspapers were generously donated by the Enoch Pratt Free Library. 

felt, acrylic paint, and bird netting 

78” x 38”     198cm x 97cm 

detail image

Surrounded by news every moment, how we choose to interact with it or disseminate it matters. While making these artworks I was asking: Is it okay to follow the crowd without doing your own research? Why is fear peddling still so prevalent even as we become more educated about its use in areas from book banning to journalism? How do we maintain the well-being of all individuals when varying sources of information are adding to the polarity of the public’s view? How do we ensure that information we receive from social media is based on reality and not an algorithmic amalgamation? From yellow journalism to clickbait, what is the obligation of a news source? Where does our own obligation stand before we share information? My intention with this series is to prompt the audience to investigate further regarding how they receive and share their news or information. I think that this is something that affects all people and the need to evaluate if we are getting the whole story, a partial story, or a one-sided story is growing.

felt, acrylic paint, and bird netting 

detail image

Surrounded by news every moment, how we choose to interact with it or disseminate it matters. While making these artworks I was asking: Is it okay to follow the crowd without doing your own research? Why is fear peddling still so prevalent even as we become more educated about its use in areas from book banning to journalism? How do we maintain the well-being of all individuals when varying sources of information are adding to the polarity of the public’s view? How do we ensure that information we receive from social media is based on reality and not an algorithmic amalgamation? From yellow journalism to clickbait, what is the obligation of a news source? Where does our own obligation stand before we share information? My intention with this series is to prompt the audience to investigate further regarding how they receive and share their news or information. I think that this is something that affects all people and the need to evaluate if we are getting the whole story, a partial story, or a one-sided story is growing.

felt, acrylic paint, and bird netting 

78” x 60”    198cm x 152cm 

detail image

Surrounded by news every moment, how we choose to interact with it or disseminate it matters. While making these artworks I was asking: Is it okay to follow the crowd without doing your own research? Why is fear peddling still so prevalent even as we become more educated about its use in areas from book banning to journalism? How do we maintain the well-being of all individuals when varying sources of information are adding to the polarity of the public’s view? How do we ensure that information we receive from social media is based on reality and not an algorithmic amalgamation? From yellow journalism to clickbait, what is the obligation of a news source? Where does our own obligation stand before we share information? My intention with this series is to prompt the audience to investigate further regarding how they receive and share their news or information. I think that this is something that affects all people and the need to evaluate if we are getting the whole story, a partial story, or a one-sided story is growing.

embroidery thread, medical gauze

6" x 8" x 2"     15cm x 20cm x 5cm

A response to the president hissing, "Quiet, Piggy!" to Bloomberg White House correspondent Catherine Lucey while they were aboard Air Force One on November 14, 2025.

I was thinking about how we should focus more energy on the people who are undermined by our current president and highlight some part of their life to show their worth, just as was done in E.B. White’s book, Charlotte’s Web. I chose to embroider on medical gauze for this piece as a nod to the healing that we must endure.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

Dimensions variable with each print being 12" x 9"    30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

12" x 9"         30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

12" x 9"       30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

12" x 9"       30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

acrylic on fade out gridded vellum

9" x 12"     23cm x 31cm

acrylic, ink, and graphite on fade out gridded vellum                

12” x 17”        30.5cm x 43cm                   

This piece is from a body of work based on investigating historical textile patterns. The patterns have been altered to include an ebb and flow, push and pull, or tattered to mended to correlate the movements and moods in our daily lives and in our larger shared history. For dislodging I chose to work on gridded paper which allows a direct reference to the way embroidery patterns are recorded and passed down in many cultures. There is a connection among people from different times and places when the patterns of daily life are graphed and a connection to many artists who also choose to use the grid. This piece is based off a traditional Hutsul pattern from my family’s culture. The Hutsuls are an indigenous population of the Carpathian Mountains and, over generations, those in Western Ukraine have come to be known as Ukrainian. Many have an entwined Hutsul and Ukrainian culture; my family included. Like a multitude of countries and ethnicities in the world, Ukrainians are again in an upheaval, but our traditions and language remain tethered.

ink on gridded vellum

8.5" x 11"      22cm x 28cm

acrylic and ink on fade-out gridded vellum

18” x 20”     46cm x 51cm

This piece is based on an early American coverlet pattern for a four-harness loom. The original pattern was adapted for the 'Gobelin stitch', a form of Bargello stitch. Many stitch patterns have an unclear provenance despite being labeled as, or considered influenced by, Bargello.

acrylic and ink on fade out gridded vellum 

15.25” x 11.5”    39cm x 29cm

This piece is based on a traditional Hutsul pattern from my family’s culture but laid out in repetitions that would never be seen historically. The Hutsuls are an indigenous population of the Carpathian Mountains and, over generations, those in Western Ukraine have come to be known as Ukrainian. Many have an entwined Hutsul and Ukrainian culture; my family included. Like a multitude of countries and ethnicities in the world, Ukrainians are again in an upheaval, and questions abound about how much outreach other countries should extend to those in need. What is a person’s or country’s obligation upon witnessing turmoil?

acrylic on gridded vellum 

11” x 8.5”   28cm x 22cm

A drawing based on historic Florentine fiber work (aka Flame & Hungarian stitch) and the title, Predictive Coding, is the term for how our brains constantly create mental models of our surroundings based off of previous recollections and content - this helps us predict our sensory input more efficiently. For example, your hand touches something cold, and you know you had a drink nearby, so your brain assumes it's the drink before you look to see that it is indeed the drink or something else (maybe the cold nose of your dog or your kid's fingers). We assume horses not zebras... What happens when our previous recollections and content are from unhealthy situations?

acrylic and ink on fade out vellum 

15.25" x 11.5"    39cm x 29cm

This piece is based on a traditional Hutsul pattern from my family’s culture but laid out in a repetition that would never be seen historically. The Hutsuls are an indigenous population of the Carpathian Mountains and, over generations, those in Western Ukraine have come to be known as Ukrainian. Many have an entwined Hutsul and Ukrainian culture; my family included. Like a multitude of countries and ethnicities in the world, Ukrainians are again in an upheaval, and questions abound about how much outreach other countries should extend to those in need. What is a person’s or country’s obligation upon witnessing turmoil?

security envelopes and graphite on fade-out gridded vellum 

24” x 15”    61cm x 38

If left alone some things become more inherently beautiful and spread out naturally while other times leaving things alone causes unraveling. For this piece I researched a Florentine stitch work because of the issues of provenance with patterns considered to be Bargello. I saved multiple styles of security envelopes and used them to punch out 1/4" circles. I then individually glued the circles into the altered historic flame stitch pattern and darkened in some of the security patterns with graphite.

acrylic and ink on fade out gridded vellum 

47" x 18"   119cm x 46cm

The treatment of oneself is based on how others view us and social/societal perception. How we are taught to present ourselves – How we perceive others see us – How we may suppress parts of our identity based on past experiences and future perceptions… This piece speaks about my childhood perception of my immigrant mother and how she moved through public spaces.
I began by working on an embroidery piece using the cultural designs that were passed down to me. I realized that it was the pattern of the embroidery that was the right end for this piece – the pattern/plan allows many to make their own and also their own version. I referenced the scale of a рушник (a rushnyk is an embroidered towel). When it is narrow and long it is still called a ‘towel’ but is meant to be kept clean and is used as a ritual cloth in ceremonial events such as weddings, traditional dances, funerals, or to drape across the frame of an icon hanging in the home. 

acrylic and ink on fade out gridded vellum 

Detail image

The treatment of oneself is based on how others view us and social/societal perception. How we are taught to present ourselves – How we perceive others see us – How we may suppress parts of our identity based on past experiences and future perceptions… This piece speaks about my childhood perception of my immigrant mother and how she moved through public spaces.
I began by working on an embroidery piece using the cultural designs that were passed down to me. I realized that it was the pattern of the embroidery that was the right end for this piece – the pattern/plan allows many to make their own and also their own version. I referenced the scale of a рушник (a rushnyk is an embroidered towel). When it is narrow and long it is still called a ‘towel’ but is meant to be kept clean and is used as a ritual cloth in ceremonial events such as weddings, traditional dances, funerals, or to drape across the frame of an icon hanging in the home. 

1991-92 Наше Життя (Our Life) magazines, artist drawings from 2022-23, ink, marker, acrylic paint, pencil, gridded fade-out vellum, and monofilament 

41” x 48” x 1.5”     104cm x 122cm x 4cm

For this piece, I purposefully chose copies of Ukrainian magazines from August 1991 through August 1992, spanning the first year of Ukraine’s Independence. I cut over 3000 circles of faces, hands, and text from the magazines and then backed them with over 3000 more cut circles from my 2022/2023 sketches and drawings. The Ukrainian pattern that emerges is ongoing.

1991-92 Наше Життя (Our Life) magazines, artist drawings from 2022-23, ink, marker, acrylic paint, pencil, gridded fade-out vellum, and monofilament 

Detail image of magazine side

For this piece, I purposefully chose copies of Ukrainian magazines from August 1991 through August 1992, spanning the first year of Ukraine’s Independence. I cut over 3000 circles of faces, hands, and text from the magazines and then backed them with over 3000 more cut circles from my 2022/2023 sketches and drawings. The Ukrainian pattern that emerges is ongoing.

1991-92 Наше Життя (Our Life) magazines, artist drawings from 2022-23, ink, marker, acrylic paint, pencil, gridded fade-out vellum, and monofilament 

Detail image of artist's drawings side

For this piece, I purposefully chose copies of Ukrainian magazines from August 1991 through August 1992, spanning the first year of Ukraine’s Independence. I cut over 3000 circles of faces, hands, and text from the magazines and then backed them with over 3000 more cut circles from my 2022/2023 sketches and drawings. The Ukrainian pattern that emerges is ongoing.

This image shows The rest of the story at the 2023 Artscape's B23 Exhibition alongside another paper tapestry of mine, Holding Pattern.

Detail image showcasing the shadows.

As exhibited at the 2023 Artscape's B23 Exhibition.

nylon rope, acrylic, resin

Dimensions variable, shown here as 8” x 72” x 40”   20cm x 183cm x 102cm (not including pedestal height)

While making Modern Retreat, I was thinking about the mythological story involving the Trojan horse. As questions rose in 2008 about how to end the wars the U.S. was involved in, this installation stemmed from my questioning the definition of modern retreat. What do people retreat from, what is the effect, and how often are their true motives concealed? 

My sculptures and installations from 2006 – 2009 were inspired by allegories, parables, and nursery rhymes.  I chose these literary genres as they are purposefully fictional stories that satirize a truth, and I could incorporate questions I had about truth and communication in politics and social policies of that time. I selected passages or visuals from well-known books or authors and treated the imagery as readymades. Since information is already ingrained, I could add my own humor and satire. 

As seen in Where have all the flowers gone? exhibition, 2025, Arnold and Sheila Aronson Gallery, New York, NY

image credit Kevin Sparkowich

nylon rope, acrylic, resin

Detail image

While making Modern Retreat, I was thinking about the mythological story involving the Trojan horse. As questions rose in 2008 about how to end the wars the U.S. was involved in, this installation stemmed from my questioning the definition of modern retreat. What do people retreat from, what is the effect, and how often are their true motives concealed? 

My sculptures and installations from 2006 – 2009 were inspired by allegories, parables, and nursery rhymes.  I chose these literary genres as they are purposefully fictional stories that satirize a truth, and I could incorporate questions I had about truth and communication in politics and social policies of that time. I selected passages or visuals from well-known books or authors and treated the imagery as readymades. Since information is already ingrained, I could add my own humor and satire. 

As seen in Where have all the flowers gone? exhibition, 2025, Arnold and Sheila Aronson Gallery, New York, NY

image credit Kevin Sparkowich

nylon rope, shock cord, acrylic, resin, and dirt                              

14” x 72” x 72”          36cm x 183cm x 183cm

My sculptures and installations from 2006 – 2009 were inspired by allegories, parables, and nursery rhymes.  I chose these literary genres as they are purposefully fictional stories that satirize a truth, and I could incorporate questions I had about truth and communication in politics and social policies of that time. I selected passages from well-known books or authors and treated the imagery as readymades. Since information is already ingrained, I could add my own humor and satire. 

To make this installation I used a small loom to weave pairs of pants which reference the character “a pair of pale green pants with nobody inside them” from Dr. Seuss’s book What Was I Scared of?, 1961. The title of this work is a quote from Hans Christian Anderson’s The Emperor’s New Clothes.

As seen in the Rectified exhibition, 2009, Gallery Four, Baltimore, MD

image credit Eddie Winter

glassine printed with plane schematics from the Wright brothers’ archives, and T-pins, on foamcore

17” x 24” x 2"    43cm x 61cm x 5cm

This piece is about the absurdity of effort we will go through to fix a future problem even though the same amount of effort spent on changing current behaviors would have much greater impact. 

wood, peat, wire, crepe paper, and cloth

62” x 65” x 54”     158cm x 165cm x 137cm

This piece is questioning Bush Jr's agenda for sending troops off to war based off the purport of WMDs. The text on the sign reads “PAY NO ATTENTION”. This phrase, the remnant of a brick road, and the poppies allude to The Wonderful Wizard of Oz. The poppies go further and hold a myriad of meanings including referencing John McCrae’s 1915 poem In Flanders Field which led to the poppy becoming a symbol for Veterans, Remembrance, and Armistice Day.  

My sculptures and installations from 2006 – 2009 were inspired by allegories, parables, and nursery rhymes.  I chose these literary genres as they are purposefully fictional stories that satirize a truth, and I could incorporate questions I had about truth and communication in politics and social policies of that time. I selected passages from well-known books or authors and treated the imagery as readymades. Since information is already ingrained, I could add my own humor and satire. 

wood, peat, wire, crepe paper, and cloth

62” x 65” x 54”     158cm x 165cm x 137cm

This piece is questioning Bush Jr's agenda for sending troops off to war based off the purport of WMDs. The text on the sign reads “PAY NO ATTENTION”. This phrase, the remnant of a brick road, and the poppies allude to The Wonderful Wizard of Oz. The poppies go further and hold a myriad of meanings including referencing John McCrae’s 1915 poem In Flanders Field which led to the poppy becoming a symbol for Veterans, Remembrance, and Armistice Day.  

My sculptures and installations from 2006 – 2009 were inspired by allegories, parables, and nursery rhymes.  I chose these literary genres as they are purposefully fictional stories that satirize a truth, and I could incorporate questions I had about truth and communication in politics and social policies of that time. I selected passages from well-known books or authors and treated the imagery as readymades. Since information is already ingrained, I could add my own humor and satire. 

Dictionary pages, Wite-Out correction tape, pins

9' x 7'   2.74 meters x 2.13 meters

Image from Code: no code, 2006, Villa Julie College Gallery (renamed Stevenson University), Baltimore, MD – Diane DiSalvo, curator

Dictionary pages, Wite-Out correction tape, pins

Detail image

security envelopes, Наше Життя (Our Life) magazines, embroidery thread, and acrylic paint 

Detail image

(Image of piece in its entirety is at the top of my page)

security envelopes, Наше Життя (Our Life) magazines, embroidery thread, and acrylic paint 

Detail image

(Image of piece in its entirety is at the top of my page)

security envelopes, 2022 Наше Життя (Our Life) magazines, embroidery thread, and acrylic paint 

Detail Image

(Image of piece in its entirety is at the top of my page)

acrylic paint, felt, bird netting

Detail image

felt and bird netting

Detail image