Soft Stitches. Sharp Messages.

Lately, I’ve been working with vintage imagery as a site of interruption—using embroidery to stitch contemporary language into images that were never meant to speak back.

Radical Left Lunatic

​Radical Left Lunatic​ reclaims a phrase frequently used by Donald Trump to defame and dismiss the left. By stitching it into the hands of a flapper-era figure, the insult is stripped of its power and turned outward—no longer a smear, but a declaration. What is meant to shame becomes self-definition.

I am evil

​I’m Evil​ confronts the demonization of women who speak up and resist. The phrase mirrors the way outspoken women are framed as dangerous, immoral, or corrupt—an accusation absorbed, exaggerated, and reflected back through thread.

Anyway, how are egg prices?

​Anyway, how are egg prices?​ directly responds to one of the most commonly cited justifications for reelecting an adjudicated sexual assaulter and failed insurrectionist. Set against an image of domestic labor, the embroidered text exposes how women’s work, bodies, and daily lives are repeatedly sacrificed under the guise of “economic concern.” The absurdity is the point.

Together, these works use embroidery—historically coded as feminine, passive, and decorative—as a political tool. Soft materials carry sharp meaning. Language is reclaimed. Nostalgia is interrupted.