Presented a collection of new lighting, vessels, and sculptural objects with ELEVEN in Los Angeles, beginning an ongoing collaboration with the gallery.

Upcoming participation in the second annual Living with Glass – Garasu to Kurasu exhibition at KOBO Gallery in Seattle. This year's invitational brings together contemporary glass artists from the Pacific Northwest and Japan, continuing an ongoing exploration of glass in everyday life.

​Both/And: A Continued Practice was a solo exhibition presented by Storied Objects in Portland, Oregon, featuring over one hundred works spanning vessels, lighting, mobiles, and sculpture. Bringing together traditional craft processes and newer explorations in material and form, the exhibition marked an important moment in the continued development of my practice and was supported in part by a professional development grant from the Regional Arts & Culture Council (RACC).

Invited to participate in Creative Analog, the Fall 2025 edition of Desert Design Week in Scottsdale, Arizona, a curated celebration of design, art, architecture, and community. Presented alongside a group of artists and designers, I contributed a selection of works exploring materiality, handcraft, and our relationship with the objects we live alongside.

Selected for SPECTRA, a juried group exhibition at Artspace Gallery in Lake Oswego, Oregon exploring themes of color, light, perception, and the many visible and invisible spectra that shape our experience of the world. For the exhibition, I presented Pod Triptych, a sculptural glass work inspired by natural seed forms and created using neodymium glass, a rare earth material whose color shifts between lavender and blue under varying light conditions.

Participated in Living with Glass – Garasu to Kurasu, the inaugural Pacific Northwest Glass Invitational at KOBO Gallery in Seattle. In response to the exhibition's focus on contemporary glass objects for everyday life, I presented a selection of lighting, vessels, and drinking wares exploring the role of glass in daily rituals and domestic spaces.

Invited by Fredericks & Mae to participate in Eternal Flame, a group exhibition in New York City exploring themes of fire, transformation, and light through sculptural and functional objects. For the exhibition, I presented Piloti, a sculptural composition consisting of blown and carved glass, bleached fir, and resin.

I had the privilege of visiting The Museum of Modern Art to view the exhibition Guillermo del Toro: Crafting Pinocchio. The show coincided with the premier of the director’s first stop-motion animated feature, Pinocchio, and included production art, props, puppets, and recreations of working film sets where this movie came to life. The film was realized through the collaborative efforts of designers, craftspeople, and animation artists in Guadalajara, Mexico, Altrincham, England, and Portland, Oregon. 

​In 2020 I was contacted by the stop-motion art team to prototype and fabricate glass for the film as well as provide material consultation on glass, its working characteristics and physical properties. Some of the objects I created were used in the making of the film and one was included in this exhibition for which I was credited. 

I will be teaching a glassblowing workshop at the storied New York based glass institution, UrbanGlass. In this workshop students will focus on refining technical skills as a means to explore how simplification can broaden their creative outcomes. We will work through basic forms in clear glass while emphasizing efficient workflow and heat management. We will take a closer look at the blowing processes’ constituent parts (gathering, marvering, centering, body mechanics, etc) and strive to deepen our understanding of the working characteristics of the material. Finally, we will use glass color bar to cover basic color application techniques and discuss the implications on the blowing process and our visual goals.

Participated in Makers' Table at Nationale in Portland, Oregon, a collaborative project bringing together artists, designers, and craftspeople to create a shared dining experience. For the event, I designed and produced a stemless wine glass as part of a larger collection of handmade objects—including furniture, lighting, textiles, and tableware—that were used during the meal and later exhibited as artifacts of the gathering.

In July 2020, I worked with friends Brittany V. Wilder and Arielle Zamora to design and realize the cover artwork for Issue #004 of the Portland based arts publication, the Buckman Journal. Created in a time of social isolation and unknowingness of what the future would hold, we wanted to inspire the readers of our community to find strength and seek connection. Photography and styling by Brittany, Floral design by Arielle, and my Glasswork contributions. 

In my inaugural solo exhibition Finding the Line, I aim to present a body of glasswork which tells the story of my journey thus far with the material and explore the connection to place and time. I moved from Washington, DC to Portland, OR in the Fall of 2013 to find opportunities to learn and work with glass and that decision has changed my life. This body of work captures what it means to find identity as an outsider and the power of artistic expression and object making as a link to a changing landscape. 

Invited to participate in American Design Club's Sound X Vision exhibition during NYC Design Week. In response to the show's exploration of communication and collective experience, I presented Polarized Chamber, a blown glass vessel examining the isolating effects of communication within closed systems.