Geography of my soul
Waterjet cut and fused float glass.
16.5 x 10 x 10
Geography of the Soul (2025), explores identity through layered, waterjet-cut, and fused float glass. The contours create a topographic portrait, mapping the invisible landscapes of memory and self. The piece plays with presence and absence, suggesting that identity, like a landscape, is shaped by time and experience.
Invisible women #1
Pâte-de-Verre encased in furnace glass
23 x 10
This sculpture speaks to the quiet disappearance of women as they age. A lacy, veil-like form in pâte de verre is encased in clear furnace glass, soft and shifting like presence. The texture suggests something once vivid, now dissolving, fading not from lack, but from being overlooked. Its contours hint at a face, but resist full recognition, mirroring how society blurs older women into the background.
For my father, who we lose a little every day
Photography: Chad Chisholm Photography
Pâte-de-Verre
12.5 x 8 x 8.5
This pâte de verre sculpture explores the fragile, fragmented nature of memory loss. Each shard of glass, suspended in delicate formation, represents moments slipping away—some sharp, some fading into translucence. The piece captures the disorientation of forgetting: the gaps, the distortions, the haunting absence.
(in a private collection)
Invisible women
#2, #3
Kiln-cast recycled Bullseye glass
#2 16 x 10 x 2.7
#3 19 x 2.75
The Invisible Women pieces are cast in Bullseye clear glass from an original clay sculpture. The semi polished surfaces represent the gradual erasure many women experience in a society that increasingly prioritises youth and beauty. The soft folds and small imperfections from the casting process serve to highlight the beauty to be found in reaching maturity and letting go of perfection.
Erosion of light
Kiln-cast recycled Bullseye glass
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