My work explores the intersection of art and sport as a way to understand vulnerability, trust, and shared human experience. Both demand presence, repetition, and commitment—while also inviting introspection, community, and transformation.
I see the court as a sacred site—an earth painting—layered with memory, movement, and spiritual culture. These spaces carry homage: to home courts, to community, to the quiet rituals of play. I’m drawn to how time settles into them, and how they become stages for radical empathy and real-time negotiation.
In particular, I see courts as battlefields where women in sport fight for visibility and equal space. Sport, in my practice, is both metaphor and material—embodying strength, resistance, and tenderness. Through it, I explore the politics of space and the ways we shape one another through every pass, pivot, and pause.
Ultimately, I aim to create not just art, but temporary fields—environments where difference is honored, collectivity is sacred, and the pursuit of something greater than the self becomes possible.
Basketball like printmaking is an art form. Both involve a moment of surrender—when the ball leaves your hands, or the press takes over, there’s a loss of control that requires trust in your preparation and process. Both demand discipline, consistency, and power—and in both, that power is shared.
This print was created at Oehme Graphics, in Steamboat Springs, CO. I’m proud to say it was printed by all women.
This diptych is inspired by the inaugural WNBA game, played on June 21, 1997, between the New York Liberty and the LA Sparks at the Great Western Forum in Inglewood, California. I wanted to create a print that serves as both a tribute and a form of documentation. The left panel depicts the tip-off, while the right will represent the first basket scored by Penny Toler an incredible player who later became the general manager of the Sparks.