It begins with place.
My work is rooted in place—the lake lands of the American Midwest, the Southwestern desert, the forested shores of the Pacific Northwest—and lands urban, rural, and wild around the world. I am grateful to make my home on the unceded ancestral lands and waters of the Dxʷdəwʔabš (Duwamish) and Bəqəlšuł (Muckleshoot) peoples.
As an artist, I’m a scavenger and a mudlarker. My creative methods include pattern work, earthwork, (de)composition, (re)assembly, constraint-based practices, and collage. My projects gravitate around the intersection of spirituality, science, philosophy, myth, and architectures of faith.
A Jack Straw Writer, Tin House and Breadloaf Sicily alumna, and alumna of Artist Trust’s EDGE program for literary artists, my creative practice is supported by grants, residencies, and fellowships from 4Culture, Burien Library Centrum, City of Burien, City of Edmonds, the Civita Institute, Invoking the Pause, Jack Straw, Marble House, Mineral School, Seattle Public Library, Shunpike, Vermont Studio Center, and Willapa Bay AIR.
My writing and visual at appear in BOMB Magazine, Poet Lore, Alta, Epoch, DIAGRAM, Northwest Review, Chicago Review, The Rumpus, and elsewhere. Winner of the Fern Academy Prize for the essay, my writing has twice been deemed notable by Best American Essays. The author of How to Not Become the Breaking and Pity She Didn’t Stay ‘Til the End, I serve as the creative nonfiction editor of Crab Creek Review.
I’m a passionate advocate for the em dash, the serial comma, full coverage of butters, jams, spreads, and condiments on toast, and showing up early as a gesture of respect and care.