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, 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, grafting, transplanting, constraint, and collage. As a body, my projects explores the intersection of spirituality, science, philosophy, myth, and architectures of faith.
A Jack Straw Writer, Tin House and Breadloaf Sicily alum, and alumna of Artist Trust’s EDGE Development 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, True Story, Epoch, DIAGRAM, Northwest Review, The Normal School, 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 (Gateway Literary Press, 2025) and Pity She Didn’t Stay ‘Til the End (Bottlecap Press, 2022), I serve as creative nonfiction editor of Crab Creek Review.
I’m a passionate advocate for the em dash, the serial comma, and full coverage of butters, jams, spreads, and condiments on toast.