My process begins with sorting fabrics I've sourced secondhand. I'm interested in the shapes I find fabric already in and I like discovering interesting juxtapositions: heavy and thin fabrics, opaque and sheer, shiny and flat, synthetic and natural, antique and contemporary, textured and smooth, faded and highly saturated colors. I work on several quilts at a time; a quilt goes through many stages so I'll work on what feels right at that moment. If I feel like crawling around on the floor in my home studio where all of my fabric is, I'll plan new quilts and piece them. If I want to hand sew at the park while my kids are playing, I'll work on hand appliqué  or hand piecing. If I have the house to myself I might work on a piece that needs to be prepared for hand quilting, because this involves a long process of me smoothing and pin basting my work on a large empty floor space. If we are on a family road trip, I'll bring smaller pieces I can add embroidered or beaded details on and then later add them later to larger quilts. I approach my textile work like I once approached painting: building up found materials, painting, adding imagery through collage or transfers, removing layers, adding more, and deciding what should be covered and what should be revealed. I began a daily practice of quilting in late 2019 when I became inspired by traditional quilts but gave permission to myself to break away from patterns and rules. Quilting is a slow meditative process and I enjoy working improvisationally. As a parent and high school art teacher, I experiment with a lot of artmaking processes: sculpture, screenprinting, surface design on fabric, beading, embroidery, collage, and drawing which also make their way into my quilts. A lot of my inspiration is found in those moments in my classroom or at home with my own children. They all become collaborators; they're constantly sparking new ideas and new ways to approach my textile work.