My work draws inspiration from the rigid architecture and fast-paced environment of New York City. My move from Nebraska to New York City heavily impacted how and what I am creating. My work became rigid and somewhat more abstract than what I had been creating in Nebraska. The organic forms I was surrounded with previously had vanished in the new, urban environment of New York City. The towering, nearly claustrophobic skyscrapers overtaking the city were distracting from the few dreary trees that are strategically planted along the sidewalks. Because of this change in interior and exterior, I began to notice stagnant architectural elements surrounding me. I use isometric perspective to depict architecture within my immediate surroundings. The steps I go through to create my isometric pieces is similar to traditional drafting techniques, although I have not had traditional training myself. The use of embroidery as a medium is prominent in my recent work. My transition into embroidery raises the question of where craft becomes fine art, and whether or not it can stand as both. The display of my embroideries as sculptural objects impact an interior space. I find that each side of an embroidery is integral to achieve my final display. Traditionally, the pristine, front-facing side of the embroidery that shows the thoughtfully planned-out composition is displayed to the viewer. The backside of the piece reveals the chaotic, messy ends of threads overlapping, which I find just as visually appealing. The tangled mess of thread woven together is reminiscent of the chaos of New York City that drew me in and swallowed me whole. A sculptural, textile piece has the ability to be interactive so the viewer may be involved in fulfilling the intentions of my work. My intention is that the viewer’s interaction through touch creates an intimacy between them and the work, thus building intimacy between myself and the viewer.