I am a Minnesota-based artist and writer. I have a BA in French from Grinnell College, an MA in Art History from the University of Delaware, and a decade of experience in the art world. In my art and writing, I observe how methodology and process affect a work product, and how analytical and creative processes can be combined in new ways. My artwork has been exhibited in juried exhibitions around the country, including in the 2025 Cimarron National Works on Paper exhibition at the Oklahoma State University Museum of Art, and has been featured in the literary journal The Missing Slate. My writing on art has been featured by publications including the Journal of Victorian Culture Online, the Walker Art Center’s The Walker Reader. Find me on instagram @sortorfunnyjokes.

Since my time as an undergraduate at Grinnell, I have pursued my interest in the historical and creative sides of the art world side by side. I developed an interest in works on paper and in writing through internships in college, and in my work after college. I had the chance to intern with the Frank Lloyd Wright Foundation, the Museum of Modern Art, Dieu Donné Papermill, the Minnesota Center for Book Arts, and the Walker Art Center. I have worked as a Communications and Sales Manager for the prominent regional artist Adam Turman, gaining insight into what it means to make a living as an artist. I also understand that the challenges of doing this are not evenly distributed, and have had the chance to work with community-centered organizations like Hennepin Arts, exploring how public art can be a connective force in socio-economically disparate areas. In graduate school at the University of Delaware, I explored material culture methodology as a graduate editorial assistant at Winterthur Portfolio, the leading journal of American material culture. This developed my curiosity in how methodology can be leveraged to explore art and culture in new ways, and inspired me to think critically about how historical methodology and creative methodology shape production in art history, art criticism, and other forms of art writing. Since my graduation from my MA program, I have had the chance to make and exhibit my own art, and continue the scholarship I began in graduate school. Now, these two practices are beginning to form a cohesive whole, as I use them both to examine my own work practice as a neurodivergent person. I am curious about what I can learn when I work across various modes of making, some which align with my own proclivities and some which challenge it. I take an observational stance to my relationship with art and writing, getting curious about why I and others work the way we do. This has, in turn, inspired me to explore ideas of value and labor that go into this work. How does the art world, and the world at large, value work. How does this play out in creative and scholarly work? How can artists move through and resist a system that devalues their work, but allows others to profit immensely from it? Like the media I use in my college, the more I work, the more these ideas combine and recombine in my practice. Both my art and writing, and the way they interact, continue to evolve.