I'm a Toronto-born, Portland-based sculptor and installation artist. I grew up training as a gymnast — competing at World Championships twice, falling in front of thousands of people, and getting up and trying again. I didn't make the Olympics. What those years gave me instead was a deep understanding of repetition, failure, and what it takes to keep building something even when you're not sure it will hold.

I came to art through design, spending years working on immersive retail environments in Tokyo, Seoul, and Berlin. The pandemic changed that. After pouring myself into the opening of Nike Rise Seoul — doing the work, not seeing my name on it — I made a decision. Art was my rebellion. For the first time, I called the shots, made what I wanted, and shared what I believed in without running it through a hundred other people.

My first real move in that direction was a residency with GLEAN and Recology, working inside Portland's Northwest Transfer Station. Witnessing the scale of what gets discarded permanently changed how I understand material.

But the practice found its deeper subject in my own ancestry. My family has an ancestral book dating to the 1600s, written in a language I cannot read. I hold its weight and feel the accumulation — generations of DNA, inherited trauma, everything passed forward without a word. At Esalen Institute, after a movement practice, I saw thirty shimmering figures. Descendants. I understood then that I was being called to work as a conduit for ancestral presence. The Descendant Series is where that calling lives.

Precision, technique, and repetition — trained through gymnastics, piano, and shoemaking — run through every stitch of every sculpture I make. I have been in Portland for eight years. My work has been exhibited at the Jordan Schnitzer Museum of Art and the Portland Chinatown Museum. Alongside my studio practice, I designed Team USA's jacket for the 2026 Milan Winter Olympics.