One hour. Your questions. My experience.

Sometimes you don’t need another blog post, YouTube video, or generic piece of advice.

You need to talk to someone who has actually navigated the situation you’re facing.

In this 1:1 session, we can focus on whatever is most important to you right now — your exhibitions, career direction, professional development, income, opportunities, or your next move.

I’ll bring my experience as a working artist, exhibitor, educator, and arts leader to the conversation and help you think through your options, clarify your goals, and identify practical next steps.

We can talk about:

• Exhibitions — preparing for an exhibition, deciding what to show, creating a strong body of work, approaching galleries or institutions, or getting more out of an exhibition opportunity
• Career direction — figuring out where you want your art career to go and what to focus on next
• Professional development — building your CV, portfolio, artist statement, bio, website, or professional presence
• Opportunities — thinking through residencies, grants, exhibitions, collaborations, and other opportunities
• Making a living as an artist — exploring income streams that can support your art practice
• Getting unstuck — when you have too many ideas, too many possibilities, or simply don’t know what to do next
• Your specific situation — bring me the question or challenge that’s been on your mind

This is not a one-size-fits-all coaching session.

You set the agenda.

Come with one specific question or use the hour to work through a larger career decision. I’ll listen, ask questions, share what I’ve learned from my own experience, and help you leave with greater clarity about what to do next.

Book your one-hour session and let’s work through it together.

I am delighted to share that my textile artwork, Feeling Good, has been selected for Patchwork: Connecticut Artists Consider 250. This is a juried exhibition at the Florence Griswold Museum in Old Lyme, Connecticut.

The exhibition opens June 27 and remains on view through November 8, 2026. It brings together Connecticut artists whose work reflects on American identity, history, and the many stories that have shaped the nation over the past 250 years. It is inspired by the Museum’s historic Bicentennial Quilt, Patchwork . The exhibition explores the idea that history is not a single narrative. Rather, it is a collection of many voices, experiences, and perspectives woven together.

This theme resonates deeply with my own practice.

Throughout my work, I explore migration, identity, cultural memory, and the connections that bind communities across generations. Working with textiles allows me to draw upon traditions of quilting and West African cloth, while creating contemporary narratives about belonging, resilience, and shared humanity. Thread becomes both a physical material and a metaphor—connecting people, histories, and places.

About the Exhibit

Feeling Good reflects these ongoing interests. It asks viewers to consider how identity is shaped by personal experience while also being stitched into larger cultural histories. I am honored that the piece will be part of a conversation that invites audiences to think about the many ways artists help us understand our collective past and imagine our future.

The Florence Griswold Museum occupies a unique place in Connecticut’s artistic history. Once it was home to the renowned Lyme Art Colony. The museum still continues its long tradition of supporting contemporary artists while fostering dialogue between historical and contemporary art. It is especially meaningful to exhibit work in a museum that has played such an important role in the state’s artistic legacy.

If you are in Connecticut this summer or fall, I hope you’ll have the opportunity to visit the exhibition. You’ll enjoy experiencing the remarkable range of work by artists from across the state.

Exhibition Details

Patchwork: Connecticut Artists Consider 250
Florence Griswold Museum
96 Lyme Street 
Old Lyme, Connecticut 06371

On View: June 27 – November 8, 2026

For more information about the exhibition, visit the Florence Griswold Museum’s exhibition page.

There are moments in an artist’s life that ask you to pause and really take stock of where you are. This exhibition is one of those moments for me. I’ve been invited to present a solo show — something this gallery has never done before. They’ve traditionally focused on group exhibitions, so to be the first artist to have a solo presentation in this space already makes this experience feel significant.

The show is structured as a kind of mini retrospective, bringing together works that span nearly a decade of my practice. It includes still life pieces, portraiture, and, for the first time, my fiber sculptures shown in this kind of setting. Each piece carries a version of me — how I was thinking, what I was exploring, and what I understood at the time.

This solo show, curated by nico w. okoro from the Bldg Fund, features works made over the past decade. Spanning sculpture, portraiture, and still lifes, the works weave thread, fabric, copper, and other materials into objects that both carry and hold human stories — vessels that protect the interior while navigating the exterior. On view are five sculptures from her new series Skin Over Air, and three portraits from her A Good Mother series.

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I’m starting something I haven’t done in a long time. I’m back on YouTube.

About 10 years ago, I had a channel there. I eventually stepped away because I didn’t have the bandwidth to manage YouTube, a blog, Instagram, and a full studio practice at the same time. I chose to focus on the work and on one platform.

Now I’m starting a new textile art YouTube channel.

This channel is a way to slow things down. To show more of the real work. Not just the processes. The whole practice with its varying facets. And to create more space for connection.

Why I’m Coming Back to YouTube

After years of making and exhibiting my work, something has become very clear to me.

One of the best parts of this life is the people.

I love the conversations I get to have at exhibitions and events. I love meeting people who care about art in general and fiber work specifically. That sense of shared interest and exchange matters to me.

I also want a better way to share my actual process.

I often get questions about how I work and what my studio practice looks like day to day. Short-form content doesn’t leave much room for depth. I wanted a place where I could slow down and show more of the real work.

I’ll be honest. I don’t fully know how this will fit into my life yet. I haven’t posted on YouTube in years. There’s a lot to relearn. I won’t always know what to film. I won’t always have much time. But I’m committed to trying and seeing what this can become.

That’s why I decided to start this textile art YouTube channel.

What You’ll See on My Channel

This channel is a vlog.

I’ll take you behind the scenes of my studio and my days. Sometimes you’ll see me making work. Sometimes you’ll see everything that supports the work. Planning, organizing, thinking, writing, meetings, and problem-solving are all part of the process.

This is not a channel about being perfect or productive all the time. It’s about showing what a real art practice looks like over time. How my art practice looks like.

The channel will evolve as I go. I’m open to learning and changing things as I learn.

My First Videos

In my first video, I’m sharing a studio reorganization project I started this year. It’s a real behind-the-scenes look at how I’m reshaping my workspace to make room for the new materials that I’m incorporate into my practice. This is the first part of a two part series. It’s a great way to get introduced to my studio.

If you’d like to follow along, you can subscribe here:
Subscribe to my YouTube Channel

Final Thought

This channel is about textile art, process, and building a practice over time. It’s also about community. Please join me in this new community and comment on my videos with questions, ideas, suggestions and more so we can have a dialogue going.

Until next time, create something beautiful and share it with someone.

I’m starting something I haven’t done in a long time. I’m back on YouTube. About 10 years ago, I had a channel there. I eventually stepped away because I didn’t have the bandwidth to manage YouTube, a blog, Instagram, and a full studio practice at the same time. Now I’m starting a new textile art YouTube channel.

This channel is a way to slow things down. To show more of the real work. Not just the processes. The whole practice with its varying facets. And to create more space for connection.

After years of making and exhibiting my work, something has become very clear to me. One of the best parts of this life is the people. I also want a better way to share my actual process — short-form content doesn’t leave much room for depth. I wanted a place where I could slow down and show more of the real work.

This channel is a vlog. I’ll take you behind the scenes of my studio and my days. This is not a channel about being perfect or productive all the time. It’s about showing what a real art practice looks like over time.

Let’s talk about my stitchings on yarn paper. Motherhood is often framed as endless giving. It praises strength, sacrifice, and doing it all. But the lived reality is different. And we rarely talk about that.

Look at the song Sweet Mother by Nico Mbarga which inspired my series The Good Mother. Although the song is a tribute from a son to his mother, notably, the word “love” is never used. Instead, the most repeated word in the lyrics is “suffering.” Why is a mother’s suffering what earns her praise and honor? The expectation to be a “superwoman” asks mothers to carry too much in silence.

For most of my life, I heard this song from a child’s perspective. That changed when I became a mother myself. From this place, I rejected the idea that a good mother is one who suffers.

Mothers need rest. Not as a reward, but as a necessity. Rest is not failure or weakness. This set of yarn paper drawings speaks to that truth. Motherhood is not about doing everything. It is about being present while remaining human.

In a recent exhibition, I showed a series of works titled: Motherhood: Sweet, Sour, and Strong. This series is inspired by a West African song I first heard as a little girl: “Sweet Mother.” The song is a tribute to the songwriter’s mother, celebrating both the joys and the hardships of motherhood. That duality – its sweetness and its struggles – became the heart of this body of work.

In this series, I explore the layered realities of motherhood: its tenderness, its sacrifices, and its quiet strength. To do this, I designed a collection of fabrics using fruit as recurring motifs. Each fruit carries symbolic meaning.

I chose a pineapple for sweetness, lemon for sourness, and orange for strength and resilience. Additionally, throughout the fabric designs that I created, I weave the Ghanaian Adinkra symbol called Obaa Tan Pa, which represents the “good mother” into them.

Motherhood: who, truly, is a good mother?

That question opened up a deeper inquiry for me. If society views motherhood one way from the outside, how do mothers themselves define what it means to be good? This tension, between the idealized image of motherhood and the lived experience, became the central thread of the work.

From my own experience as a mother, I’ve come to understand that sacrifice alone is not the only way most mothers would like to live their lives, nor should it be the standard used to honor them. Mothers need rest, gentleness, and the freedom to be fully human. They do not need to be superhuman or to “do it all” at the cost of their well-being.

To give form to this contrast between the ideal and the real, I created two groupings within the series.

The pieces in this post belong to the first grouping: the idealized notion of the “Good Mother.”
I’ll soon share with you the second grouping which is rooted in the realities of everyday motherhood. They’re in contrast to these pieces shown here, both in technique and in intent. Visually, there are also very different from these ones showed here.

I can’t wait for you to see this second grouping of works that were in my exhibition “Restitching the Narrative“.

In a recent exhibition, I showed a series of works titled Motherhood: Sweet, Sour, and Strong, inspired by the West African song Sweet Mother I first heard as a little girl. The song celebrates both the joys and the hardships of motherhood. That duality — its sweetness and its struggles — became the heart of this body of work.

I designed a collection of fabrics using fruit as recurring motifs, each carrying symbolic meaning: pineapple for sweetness, lemon for sourness, and orange for strength and resilience. Throughout the fabrics, I weave the Ghanaian Adinkra symbol Obaa Tan Pa, which represents the “good mother.”

Motherhood: who, truly, is a good mother? If society views motherhood one way from the outside, how do mothers themselves define what it means to be good? From my own experience as a mother, I’ve come to understand that sacrifice alone is not the only way most mothers would like to live their lives. Mothers need rest, gentleness, and the freedom to be fully human.

Thanks to all of you who attended my exhibition – Restitching the Narrative at the Faye & Ben Manger Gallery in Stamford, CT.  The art exhibition was on view at the JCC until the first week of November.

It is always fulfilling to see my work through the eyes of the audience. Hearing your stories, answering your questions, witnessing your enthusiasm for the work is encouragement to wake up everyday and keep making more work and telling stories. 

If you weren’t able to attend any of the events or see the show I still appreciate your support.

My exhibition draws inspiration from a favorite West African song titled Sweet Mother.

The works on view (which you can see here), were split into two distinct groups. In one group, I created colorful textile paintings in my signature style and techniques to honor the idealized “good mother”. While in the second grouping, I created delicate stitched drawings on handmade yarn paper. This group reveals a quieter truth about a mother’s need for rest, gentleness, and humanity.

Furthermore, this art exhibition allowed me to show the growth in my practice and my new yarn paper technique. Also, for the first time, I exhibited small works framed behind glass.

Each time I exhibit my work, it’s an opportunity for growth and connection. Having a specific project to accomplish has a way of pushing me to grow. Whether it’s the deadlines, the venue layout, the unique audience, they all push me in different ways. I’m grateful to all of you who are now part of my community for constantly showing up to either support me with your presence at my shows or to share the show details with your networks.

I look forward to many more events with you. And if you’re new here, come on over and join this art adventure.