About me

I grew up on an Oklahoma pecan farm, where the slow rhythms of working the land and tending to things by hand left a permanent mark. That same devotion to process, quality, and patience has shaped everything that followed.

I acquired my first Swedish handloom in 1997, and later traveled to the Vavstuga Weaving School in Massachusetts to deepen my craft within the Scandinavian weaving tradition. Thirty years on, those roots remain at the center of my practice. From my studio in Newburgh, New York, I work at my looms, each piece passing through my hands at every stage of preparation and weaving.

That intimacy with the loom informs everything — including my work beyond the studio. Since 2018, I have collaborated with F. Schumacher & Co. on licensed millwoven collections that bring handwoven sensibility to the interior trade. The collections marry sophisticated refinement with a laid-back livability, rooted in the same commitment to material and craft that defines my handwoven work.

My practice has always extended beyond the commercial. In 2015, I coordinated the American Hemp Flag Project — handspinning the first modern-era US-grown hemp to weave a flag flown over the Veterans Administration Center in Washington, DC. More recently, I have turned my research focus to British longwool fleeces and their untapped potential as an underutilized contemporary weaving fiber, collaborating with local farmers and mills to develop yarns and textiles suited to interior applications. This work, supported by New York State and the New York Fashion Innovation Center, represents a longer vision: that the most compelling materials of the future may be found by looking closely at the past.

My work has been exhibited at Manitoga and covered in Frederic, the Wall Street Journal, and the World of Interiors. I live and work in the Hudson Valley with my husband, photographer Richard Gary, and our studio dog, Willow.

By not automating the process, I'm able to be intimately involved with every step, each inch of yarn passes through my hands multiple times as it is prepared and woven.

The studio

My studio in Newburgh, New York houses several Swedish handlooms, each one a working tool in an active practice. Every textile begins here — from the first design sketches to the final wet finishing.

Working by hand rather than by machine means being present at every stage. Each inch of yarn passes through my hands multiple times as it is prepared, wound, threaded, and woven. Small adjustments happen continuously — in the color, the tension, the rhythm of the weave.

This intimacy with the process leaves its mark on the finished textile in ways that are worth knowing how to see. Two things to look for in any handwoven:

The place where a yarn is doubled — where a new yarn was joined into the web to replace an empty bobbin or a knot in the warp. A small record of the making.

The slight wave of a hand-pulled selvedge — the edge set by hand with each throw of the shuttle, creating a bound selvedge that can be highlighted rather than hidden.

These are not imperfections. They are the signature of the hand.

  • Neal Beckstedt Studio

    Jeffrey Bilhuber

    Bonesteel Trout Hall

    Mark Cunningham

    Demisch Danant

    Nina Farmer Interiors

    Georgis & Mirgorodsky

    Hacin + Associates

    Emily Janak Interiors

    Katch Interiors

    Peter Pennoyer Architects

    Reath Design

    Rougemont Interiors GmbH

    Schuyler Samperton

    Stephen Shadley Designs

    TenBerke Architects

    Beth Webb Interiors

    The Wiseman Group

  • ELLE DECORATION France

    Frederic

    Interior Design Magazine

    Martha Stewart Living

    Milieu

    The Textile Eye

    Traditional Home

    Veranda

    Wall Street Journal

    The World of Interiors

    See all press & notable mentions →