Soft Work Hard Money is the knitted content page from How Women May Earn Money (1898), it expands onto nine knitted panels that lists occupations: bicycle maid, horn polisher, and cosy corners—many now obsolete. Their disappearance echoes the fragility of gendered labour histories and shifting economies, revealing value as something continually unmade and rewoven. The viewer is encouraged to unravel the knitted panels.Through touch and participation, they assume control of the process, learning to let go as the work transforms in their hands. The act of undoing becomes an exercise in agency, responsibility, and care—being in command while accepting loss.
“Everything is fine.”
This work explores the tension between comfort and collapse. The image of a knitted dumpster fire brings together two opposing ideas: knitting, a slow and soothing craft associated with care, warmth, and domestic calm, and the dumpster fire, a symbol of chaos, failure, and things spiraling out of control.
By rendering disaster through a patient, handmade process, the piece highlights the absurdity of our response to turmoil. The act of knitting becomes a quiet gesture of endurance—methodical, calm, and almost meditative—even as the subject itself represents disorder.
The work reflects a familiar cultural moment: recognizing that everything may be unraveling, yet continuing with small rituals of normalcy. It captures the delicate balance between denial, resilience, and dark humor. In the face of visible chaos, the repeated phrase remains: “Everything is fine.”
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council of the Arts
2025
H30 x W 24 inches
2025
H24 x W36 inches
2025
H18 x W24 inches
2025
Ottawa Art Gallery Fundraiser
Critics Choice
2025
H22 x W28 inches
Haute Mess
2025
H12 x W16 inches
2024
H 18 x W 24 inches
2024
H20 x W20 inches
2024
H 28 x W 22 inches each panel
2024
H8 x W10 inches
2024
H40 x W30 inches
2024
H2 x W2 x D2 inches
Part of The Sweetest Little Thing fundraiser
STRUTS GALLERY
2024
H4 x W5 inches
2024
H30 x W40 inches
2024
H18 x W24 inches
SOLD to CITY OF OTTAWA
2024
H40 x W30 inches
2024
H18 x W20 inches
2023
H40 x W30 inches
2023
H24 x W24 inches
2023
H22 x W28 inches
2023
H22 x W28 inches
2023
H24 x W30 inches
2023
H40 x W30 inches
2023
H22 x W28 inches
2023
H40 x W30 inches
2023
H24 x W24 inches
2023
2023
commission sold
2022
2022
H28 x W22 inches
2021
exhibition: Filtered at Ottawa Art Gallery
2021 Filtered at OAG
2021
each panel H22 x W28 inches
2020
Artis in residency at the Diefenbunker, Carp Ontario
2020
Artist in Residency at the Diefenbunker Museum
2020
2020
H28 x W22 inches
Each panel: H40 x W30 inches
2023
H40 x W30 inches
H28 x W22 inches
Soft Work Hard Money is the knitted content page from How Women May Earn Money (1898), it expands onto nine knitted panels that lists occupations: bicycle maid, horn polisher, and cosy corners—many now obsolete. Their disappearance echoes the fragility of gendered labour histories and shifting economies, revealing value as something continually unmade and rewoven. The viewer is encouraged to unravel the knitted panels.Through touch and participation, they assume control of the process, learning to let go as the work transforms in their hands. The act of undoing becomes an exercise in agency, responsibility, and care—being in command while accepting loss.
“Everything is fine.”
This work explores the tension between comfort and collapse. The image of a knitted dumpster fire brings together two opposing ideas: knitting, a slow and soothing craft associated with care, warmth, and domestic calm, and the dumpster fire, a symbol of chaos, failure, and things spiraling out of control.
By rendering disaster through a patient, handmade process, the piece highlights the absurdity of our response to turmoil. The act of knitting becomes a quiet gesture of endurance—methodical, calm, and almost meditative—even as the subject itself represents disorder.
The work reflects a familiar cultural moment: recognizing that everything may be unraveling, yet continuing with small rituals of normalcy. It captures the delicate balance between denial, resilience, and dark humor. In the face of visible chaos, the repeated phrase remains: “Everything is fine.”
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council for the Arts
2025
Canada Council of the Arts
2025
H30 x W 24 inches
2025
H24 x W36 inches
2025
H18 x W24 inches
2025
Ottawa Art Gallery Fundraiser
Critics Choice
2025
H22 x W28 inches
Haute Mess
2025
H12 x W16 inches
2024
H 18 x W 24 inches
2024
H20 x W20 inches
2024
H 28 x W 22 inches each panel
2024
H8 x W10 inches
2024
H40 x W30 inches
2024
H2 x W2 x D2 inches
Part of The Sweetest Little Thing fundraiser
STRUTS GALLERY
2024
H4 x W5 inches
2024
H30 x W40 inches
2024
H18 x W24 inches
SOLD to CITY OF OTTAWA
2024
H40 x W30 inches
2024
H18 x W20 inches
2023
H40 x W30 inches
2023
H24 x W24 inches
2023
H22 x W28 inches
2023
H22 x W28 inches
2023
H24 x W30 inches
2023
H40 x W30 inches
2023
H22 x W28 inches
2023
H40 x W30 inches
2023
H24 x W24 inches
2023
2023
commission sold
2022
2022
H28 x W22 inches
2021
exhibition: Filtered at Ottawa Art Gallery
2021 Filtered at OAG
2021
each panel H22 x W28 inches
2020
Artis in residency at the Diefenbunker, Carp Ontario
2020
Artist in Residency at the Diefenbunker Museum
2020
2020
H28 x W22 inches
Each panel: H40 x W30 inches
2023
H40 x W30 inches
H28 x W22 inches