Washed with Ruby Light
This exhibition is centered around a primary object: a handmade quilt (Quilt for Healing, Care, and Connection, 2025) intended as an instrument of healing fragmented communities, and building new ones.
Washed with Ruby Light is named for my grandmother, Ruby, whose kimono is incorporated into the central quilt, as well as the many shades of red fabric incorporated into the work, that honor the intentions and dreams for healing that belong to so many.
Quilt for Healing, Care, and Connection, 2024-2025
64 x 64
Acid dyed silks, cochineal linen, cotton, grandmother’s kimono
Two work tables show quilt panels that became drafts as I tried different approaches to resolving how to make the final quilt. These became monotypes, then drawings, then panels again. I wrote about my process directly onto the tables to invite slow looking and welcome viewers into my process.
Exhibition text
I often work alone—in my studio, when I’m sewing, or walking to process ideas. But the foundation of my art practice was built and is sustained in print shops. Here, community and cooperative labor are the basis for making. I wanted to find that spirit of collaboration and connection from print shops in sewing.
I found it in quilt making, where the quilt could do more than evoke connection—it could be the product of it. Across many different cultures and communities, quilts are made in community. They are repositories of narrative and cultural memory. From the logic of Gees Bend Quilts and traditions of using recycled materials, to Korean bojagi methods that use geometric patterns to reinforce fabric durability, quilts are made to carry stories across distances and generations, to build care, resilience, and belonging.
Quilt as Fortune Teller, Flowers / Birds, 2026
16 x 20
Four-color lithograph and monotype
A Spiral A Web, 2025
22 x 30
Water-based monoprint
The Dark Night and the Cold Water, 2025
22 x 30
Water-based monoprintThese woven prints merge surfaces through concealment and reveal. Unlike sewing, weaving requires loss - part of an image is obscurred in order to produce cohesion.
Developed over months of experimentation, these works test the woven matrix as a print structure. Painted surfaces are created separately but in dialogue, then interlaced through pressure and touch. In the print on the left, decisions oscillate between calculation and intuition, guided by water, movement, and the expansive pull of the horizon. On the right: a spiderweb is interrupted by a looping spiral. Like the horizon, both forms imply continuation beyond the visible. Their interwoven patterns generate a shifting, axial depth.
Quilt as Fortune Teller, 2026
16 x 20
Four-color lithograph and monotype
Hot Pink Secret, 2023-25
31 x 31
Silk, linen, and cotton