I am drawn to the natural world by the intricate details and hidden beauty of the plants in the forests that run through the center of Washington, DC where I live. Each visit inspires me to create large-scale botanical sculptures of these plants to share insights into the forest’s health and its role as a vital, living ecosystem crucial to our survival. As part of this journey, I had the honor of serving as the first Artist-in-Residence at Dumbarton Oaks Park Conservancy (2017-1019) and received numerous fellowships from the DC Commission on the Arts and Humanities (2019-2026). I am currently developing a new body of work to advance Rock Creek Conservancy’s forest resilience goals.

When deciding which plants to document, I consult with botanists, review field guides, study vascular plant surveys, and read studies about the forest, such as the ‘Rock Creek Park National Condition Assessment’. In 2022, I also had the privilege of serving as the only artist on Rock Creek Park Conservancy’s ‘Forest Resilience Team’, which included scientists and foresters throughout the National Park Service and other partner organizations in the US. At the end of 2024, the team published a study I frequently refer to, which identifies specific strategies to preserve forest health in Rock Creek Park amid climate change.

Each botanical sculpture takes three to six months to complete, depending on the complexity of the work required. Before starting each sculpture, I sketch the plant, collect and press specimens, and scan them. I also visit the Smithsonian’s Museum of Natural History herbarium to examine specimens under the supervision of the head botanist and staff illustrator. Eventually, I select one of my scans, enlarge it to study the plant’s circulatory system, scale it to the exact size of the sculpture I intend to make, and then have a large photograph printed for reference.

With this blown up photograph in hand, I begin creating a botanical sculpture from white Dacron (i.e. used sailboat sails from Annapolis), cutting and sewing the pieces together by machine and inserting copper wires along the seams to support the stalks and stems. Then I carefully cut the fine details with tiny surgical scissors and hand sew the remaining parts using pliers, sturdy needles, and heavy thread. Next, I paint the sculpture with acrylic paint to reveal the plant’s vascular system.

The sculpture is then attached to a stretched canvas, which I have painted translucent white and overpainted with opaque white cherry blossoms, symbolically referencing the District of Columbia. Finally, the mounted sculpture is framed in a deep shadow box to enhance its three dimensional qualities.

Regarding the other parts of my life: I love hiking, listening to music, practicing yoga, and spending time with family and friends. I was raised in Kentucky, graduated from Smith College, studied art at Penland School of Crafts and the Cochran School of Art, earned a law degree from the University of Louisville, and practiced law at the Environmental Protection Agency in Washington, DC.