
Wall-scale tapestries and sculptural textile works,
woven over weeks on a floor loom.
Hand-dyed merino wool, undyed linen warp
Woven to hold morning light — the warp shifts from undyed linen at the selvedge edges toward hand-dyed ochre at center, so the piece reads differently at 8am than at noon.
9 × 14 ft
11 weeks
Private residence, San Francisco
The warp was set in January. By March the light in the studio had changed, and so had the piece.
Merino wool, linen
9 × 14 ft
11 weeks
Hand-dyed cotton, raw silk weft, natural indigo
Commissioned for a solo fiber exhibition — the horizontal format mirrors geological strata, each band dyed in a single bath from deepest indigo to the palest wash.
6 × 18 ft
8 weeks
Hazel & Pine Gallery, Portland
Natural indigo fades with light. In ten years this piece will be a different shade of the same conversation.
Cotton, raw silk
6 × 18 ft
8 weeks
Thick-spun wool, cork-core warp, beeswax finish
Specified by the architect for NRC 0.75 absorption — the thick-spun wool and cork-core warp achieve the acoustic target without sacrificing the textile's visual weight and warmth.
12 × 10 ft (three panels)
14 weeks
Aldgate Tower lobby, London
Sound disappears into the weave the same way light does — gradually, without announcement.
Thick-spun wool, cork-core
12 × 10 ft
14 weeks
Every piece begins with hand-selecting raw fiber — wool, linen, silk — then dyeing in small batches to achieve the precise tone the space requires.

The floor loom — 60″ weaving width
Each commission begins with a conversation about the space, the light, and what you want the work to hold.
“The labor is already inside the piece before it leaves the studio.”
A conversation about the space, light conditions, and color direction
A material and dye sample sent to you before weaving begins
Progress photographs at warp, halfway, and off the loom
White-glove installation coordinated with your team
Not ready to commission?
Download the Studio Lookbook — 32 pages of works, process, and material studies.