Stained Glass
Sacred Messengers
The Sacred Messengers series is an intrinsic ode to ancestral wisdom, catalyzed by my parents’ unexpected deaths thirty years apart. It honors birds as spiritual conduits, their feathers talismans of luck when organically discovered.
My process begins with a study of local avifauna, including migration patterns, feather morphology, and meditating on their integrity to internalize their shape.
From blueprint to heirloom, each piece is reimagined to amplify the totem’s energetic resonance. Blue jay feathers pair glass with agate, aquamarine and sodalite dust; cardinal feathers cradle peach selenite.
Designed as "jewelry for a space," these totems invite touch and connection. They symbolically merge matter from earth with feathers from the sky.
Artist Statement
My artistic practice is reverence to the wisdom of nature and ancestral realms, inviting viewers to experience profound connection to the cosmic world through stained glass. Self-taught and initially drawn to the medium as homage to my late mother, the intricate Tiffany method is an invitation to slow down, listen, and work in devotion. Glass is a living mirror: letting us see ourselves and what lies beyond simultaneously; color and light reveal how inner states filter perception.
Spiritual ritual and embodied stillness initiate my process—an impression or image arises in meditation and intuitive movement that I follow through experimentation. Research of American stained glass history—especially the overlooked legacy of Clara Driscoll and the Tiffany Girls—anchors my work in tradition alongside intentional modernism. My background in jewelry informs bridging mediums: I adapt Tiffany techniques into intimate “jewelry for the space,” incorporating gem dust, minerals, and stones alongside traditional sheet glass to intensify narrative and material significance. My works query grief, love, and spiritual presence, inquiring, “What is unexpressed? What is ready to be seen? Felt?”
Two ongoing series, “Sacred Messengers” and “Celebration Stars,” embody my vision through Northeastern avifaunal narratives and chandelier-style installations. Both animate communal spaces and site-specific rituals, amplifying connection and community in the “third place.”