Selected works, shown on their own and within interior visualizations.
Hand-dyed rayon knit
Rose Oracle
A radiating medallion opens from the center of the field, its spokes breaking into beads of dye where the fabric was bound. The surrounding ground moves between plum, rose and a soft oxblood, with flashes of pale gold where the dye ran thin.
Shown in a contemporary living room with white walls and natural light.
The quietest of the group. Mulberry and olive settle into a cream ground in an all-over bloom, with no single focal point — the eye is free to move across the whole surface. It sits comfortably against warm neutrals and natural materials.
Shown above a low sofa in a warm, neutral transitional interior.
When I look into this piece, I see something that feels unearthed rather than created — as if these colors have been waiting beneath the surface for centuries. The repeating forms hold like sacred adornments, forgotten symbols, treasures carried through time.
The moment an inner vision begins to become a world of its own. A radiating mandala anchors the field — orange and gold at the center, turquoise, magenta and black moving outward in spirals and fans. At 73 × 76 inches, hand-dyed rayon knit with the hand of a light blanket.
Within The Ancestral Axis, forms rise and repeat like the architecture of something ancient. A divine chalice appears within the symmetry — not as an object, but as a vessel for memory, spirit, and inherited wisdom. The piece stands between the earthly and the sacred, rooted below while reaching toward something greater.
A commission begins with the interior: the wall, dimensions, palette, light, materials and intended atmosphere. I use those details to develop a piece that belongs in the room without disappearing into it.
Because I mix and apply every color by hand, I can move the work toward warmer, cooler, quieter or more saturated tones while preserving the character and depth of the dye.
Large textile works bring color and material depth to hotels, restaurants, offices and other designed environments without the weight of comparably sized rigid artwork.
For more than two decades, I have worked across natural fibers, studying how structure, thread count, resistance and color placement shape the finished image. That technical foundation now supports my large-scale fine-art practice and the bespoke pieces I create for individual interiors.